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Ursula Biemann

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🔊 “Ursula Biemann” Acoustic Ocean au Centre culturel Suisse, Paris du 23 février au 12 avril 2020 (prolongée jusqu’au 12 juillet 2020)

FranceFineArt

Partage“Ursula Biemann” Acoustic Oceanau Centre culturel Suisse, Parisdu 23 février au 12 avril 2020 (prolongée jusqu'au 12 juillet 2020)www.ccsparis.comRéouverture des espaces d'exposition et de la librairie du Centre culturel Suisse, vendredi 29 mai à 13h.Les expositions seront ouvertes du mardi au dimanche de 13h à 19h.PODCAST – Interview de Ursula Biemann, artiste, et de Claire Hoffmann, responsable de la programmation des arts visuels du Centre culturel Suisse et commissaire de l'expositionpar Anne-Frédérique Fer, à Paris, le 21 février 2020, durée 15'55 ». © FranceFineArt.son à insérer (click sur remplacer et changer à partir d'un url)©Anne-Fréderique Fer, Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

15mins

23 Feb 2020

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170 - Ursula Biemann

Cultures of Energy

Dominic and Cymene talk about the weltschmerz of turning 10, review this week’s flood & fire news and offer handy recycling tips (e.g. don't recycle snakes!) on this week’s podcast. We then (19:08) are delighted to welcome the marvelous video artist, curator and theorist, Ursula Biemann (https://www.geobodies.org) to the conversation; Ursula has thematized energy and environment themes extensively in her work. We start with oil and her 2005 project, Black Sea Files (https://www.geobodies.org/art-and-videos/black-sea-files) which explores how energy infrastructure shapes flows of fuel and people in the Caspian region. We discuss the multiperspectival camera work that is one of her signatures and move from there to Forest Law (2014) which contrasts the logics of oil extraction in the Ecuadorian Amazon with indigenous cosmology of the living forest (https://www.geobodies.org/art-and-videos/forest-law). We talk about forests as future proliferating ecologies, how film can make visible connections between processes and places across the world, and why she likes to think of her films as doing work opposite to abstraction. We move then to Deep Weather (2013), a short film that connects the tar sands of northern Canada to the “hydro-geography” of an increasingly flood-threatened Bangladesh (https://www.geobodies.org/art-and-videos/deep-weather). In closing, Ursula explains to us her next project: founding a university in Ecuador to help bridge indigenous and western forms of environmental knowledge. Listen and enjoy!  Ps Wishing Ms. Brijzha Boyer a very happy birthday!

1hr 3mins

28 Mar 2019

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Episode 26 (Pt 3). NLS In: Dayne Buddo, Deborah Jack, Pablo Guardiola, TJ Demos, Marina Reyes Franco and Ursula Biemann

NLS In Podcast

https://nlsin.files.wordpress.com/2018/01/in-rights-of-nature-part-3.mp3

28 Jan 2018

Episode artwork

Episode 26 (Pt 2). NLS In: Dayne Buddo, Deborah Jack, Pablo Guardiola, TJ Demos, Marina Reyes Franco and Ursula Biemann

NLS In Podcast

https://nlsin.files.wordpress.com/2018/01/in-rights-of-nature-part-2.mp3

28 Jan 2018

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Episode artwork

Episode 26 (Pt 1). NLS In: Dayne Buddo, Deborah Jack, Pablo Guardiola, TJ Demos, Marina Reyes Franco and Ursula Biemann

NLS In Podcast

https://nlsin.files.wordpress.com/2018/01/in-rights-of-nature-part-1.mp3

28 Jan 2018