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Samantha Schmütz: O Caminho da Multicriatividade

No novo episódio do Mano a Mano, Mano Brown e Semayat Oliveira conversam com Samantha Schmütz sobre sua trajetória, inspirações familiares e a importância da profissionalização e da entrega no trabalho. Eles falam sobre desafios dentro e fora do país, seu mergulho na música, o lançamento do novo disco e a vontade de explorar novas linguagens artísticas. Samantha também reflete sobre o uso da sua visibilidade para atuar em pautas sociais e contribuir para a sociedade.Um episódio inspirador sobre propósito, dedicação e arte. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Berlin zur Kaiserzeit - Glanz und Schatten einer Epoche (1/3) | Film mit KI restauriert

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Hier Teil 2 ansehen: https://youtu.be/r9HwFnMmqsk
Hier Teil 3 ansehen: https://youtu.be/3QRx3qL1KfY

Das Bild Berlins um 1900, gestaltet aus frühen Filmaufnahmen, Fotos und anderen Dokumenten, vielfarbig, bewegt und überraschend wie der Blick in ein Kaleidoskop. Die mit vielen Preisen ausgezeichnete Dokumentarfilmerin Irmgard von zur Mühlen stellt dem Glanz der Metropole und den imposanten Bauten des Wilhelminismus die Hinterhöfe und das harte Los der Fabrikarbeiter gegenüber. Gezeigt wird der Alltag der Berliner*innen, das bunte Treiben in den Einkaufsstraßen und die Not der Obdachlosen. In der Nacht locken Bars, Restaurants, Theater und Lichtspielhäuser.

Abonniere chronoshistory: http://goo.gl/IVGjVB

#berlin #geschichte #kaiserzeit

The story of gold: modern imaginations | Stories in Colour Podcast Gold Ep3 | National Gallery

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When the artist Louise Nevelson immigrated to America as a child, she was told that ‘the streets... would be paved in gold’. Obviously, they weren’t, but that hasn’t stopped modern artists turning pretty much everything else golden. Even a toilet.

Join National Gallery Courses and Events Programmer Caroline Miller, Associate Curator of Contemporary and Modern Priyesh Mistry and host Beks in the final episode of our sparkling miniseries. From Gustav Klimt’s ‘The Kiss’ to an artwork so valuable it has hardly ever been displayed, we explore how artists have explored and tested the limits of gold.
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You can email us with any questions via podcast@nationalgallery.org.uk

Find out more about the podcast on our website: www.nationalgallery.org.uk/podcast
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🎨 Find out more about artworks in the episode:

Joseph Beuys, ‘How to Explain Pictures to a Dead Hare’, 1965. Galerie Schmela, Düsseldorf [Performance art] https://www.artgallery.nsw.gov.au/collection/works/434.1997.9/

Anselm Kiefer, ‘Aus Herzen und Hirnen sprießen die Halme der Nacht (From Hearts and Brains the Stalks of Night Are Sprouting)’, 2019-2020. Emulsion, oil, acrylic, shellac, straw, gold leaf, wood, and metal on canvas, 185 ⅛ x 330 ¾ inches (470 x 840 cm) © Anselm Kiefer / Photo: Georges Poncet. Courtesy the artist https://gagosian.com/exhibitions/2021/anselm-kiefer-field-of-the-cloth-of-gold/

Anselm Kiefer, 'Mein Rhine', 2024. Thaddaeus Ropac, Salzburg Villa Kast [Exhibition] https://ropac.net/online-exhibitions/171-anselm-kiefer-mein-rhein/

Gustav Klimt, ‘Pallas Athene’, 1898. Wien Museum, Vienna. © Photo: Birgit and Peter Kainz, Wien Museum https://sammlung.wienmuseum.at/en/object/102991-pallas-athene/

Gustav Klimt, ‘The Kiss (Lovers)’, 1908 (completed 1909). Belvedere Museum, Vienna https://sammlung.belvedere.at/objects/6678/der-kuss-liebespaar

‘Emperor Justinian and Members of His Court’, early 20th century reproduction (original dated 6th century, Byzantine). The Metropolitan Museum of Art, New York https://www.metmuseum.org/art/collection/search/466586

Barkley L. Hendricks, ‘Lawdy Mama’, 1969. Oil and gold leaf on canvas, 53 3/4 x 36 1/4 inches © Barkley L. Hendricks. Courtesy of the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York https://www.studiomuseum.org/artworks/lawdy-mama-2

Barkley L. Hendricks, ‘Father, Son, and...’, 1969. Art Bridges https://artbridgesfoundation.org/artworks/hendricks-father-son-and

Louise Nevelson, ‘Royal Tide II’, 1961-63. Whitney Museum of American Art, New York © Estate of Lousie Nevelson / 2025 ARS, NY and DACS, London / Photo Scala, Florence / Whitney Museum of American Art, New York https://whitney.org/collection/works/428

Installation view of ‘Tower of Power’ (1985) in “Chris Burden: Extreme Measures” at New Museum, New York, 2013. Courtesy New Museum, New York. © 2025 Chris Burden / Licensed by The Chris Burden Estate and DACS / Courtesy New Museum, New York. Photo: Benoit Pailley https://archive.newmuseum.org/exhibitions/1861

Maurizio Cattelan, ‘AMERICA’, 2016. Bowl: 18K Gold; Pipes and flushmeter: gold plated. 72,4 cm x 35,6 cm x 68,6 cm. ‘Installation view: Maurizio Cattelan: “America” 2016’, Solomon R. Guggenheim Museum, New York © Photo by Jacopo Zotti / The Solomon R. Guggenheim Foundation, New York / Courtesy, Maurizio Cattelan's Archive https://www.guggenheim.org/exhibition/maurizio-cattelan-america
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Further reading:

Find out more about Maurizio Cattelan’s ‘America’ (2016) here:
https://www.bbc.co.uk/news/articles/cjev7vn4qp0o https://www.bbc.co.uk/news/articles/c1j8z6r8zl6o
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Episode credits:

Guests: Caroline Miller and Priyesh Mistry
Host and executive producer: Beks Leary 
Producer: Harry Rosehill 
Researcher: Hannah Rogers 
Technician: Ian Warren
Video editors: Jeanne Kenyon and Alessandro Sorenti
Theme music: Theo Elwell 

#NationalGallery #ArtHistory #StoriesInColour #Podcast

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Ian McEwan on the Present as Future Past

David talks to novelist Ian McEwan, who was our first ever guest on PPF, about how the future will view our present once the disasters we are brewing come to pass. How might humanity scrape through the rest of the century? Will future generations see us as intellectually vibrant or essentially trivial? If we turn out to be unknowable to those who follow us, does that mean we are unknowable to ourselves? A wide-ranging conversation about how past, present and future co-exist in time.

Ian McEwan’s latest novel is What We Can Know https://bit.ly/4ogYN5u

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Next time in Politics on Trial: Lady Chatterley’s Lover 

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