In this episode of Museums and Chill, we welcome Sigidimnak’ Noxs Ts’aawit, Dr. Amy Parent and Barbara Fillion to talk about the rematriation of the House of Ni’isjoohl memorial pole.The House of Ni’isjoohl memorial pole makes its way home from Scotland as the first totem pole rematriated from the United Kingdom.

The rematriation of the pole is the result of a year-long discussion and close collaboration between the Nisg̱a’a Nation and the National Museum of Scotland.

The term “rematriation” reframes the concept of “repatriation” by grounding the process of recovering belongings in Indigenous law — and is more closely in alignment with Nisg̱a’a matrilineal society.Witness history unfold as this memorial pole returns home, marking a pivotal moment in museum repatriation.

Disclaimer

The views and opinions expressed by our podcast’s guests are their own and do not reflect the opinions or views of the International Council of Museums (ICOM) and its bodies and entities. The content provided in this podcast is for informational and entertainment purposes only. ICOM and its bodies and entities do not endorse or take responsibility for any statements or opinions expressed by guests during the podcast. Listeners are encouraged to conduct their own research and seek professional advice when making decisions based on the information discussed in this podcast.

Rematriation Of Memorial Totem Pole

Programmed in collaboration between IMMA and Trinity College Dublin – The Long Room Hub and FE Mc William Gallery; this symposium follows the IMMA Modern Masters Series that offers a critical reappraisal of the work and ideas of lesser-known artists. As a sculptor Hilary Heron (1923 – 1977) was forward looking in combing themes of gender, humanity, relationships, deep histories and religion, with sculptural form and materials of stone, lead, steel and wood. Exploring social, cultural and philosophical shifts of 1920/50s onwards, the symposium opens up new readings on Heron’s work, her modernist vision, past influences and the artist’s enduring relevance in the present.

Track details: IMMA Talks & TCD. The Modern Masters Symposium: Hilary Heron, Ireland’s Most Promising Sculptor Part 4, recorded at TCD on Thur 23 May 2024. 1 hr 23 minutes.

Timestamps:
Introduction by Riann Coulter - 0.00
Dr Mary Kelly - 0.57 min
Fionna Barber - 23 min
Panel Q&A - 58 min
Closing Speech by Penelope Curtis - 1h 12min

About Speakers:
Riann Coulter is a curator and art historian whose research focuses on Irish and Northern Irish art. A graduate of Trinity College Dublin (BA) and the Courtauld Institute of Art, London (MA, PhD), she has curated and co-curated over 50 exhibitions for institutions including the Irish Museum of Modern Art, Ulster Museum, National Gallery of Ireland and the F.E. McWilliam Gallery, Co. Down where she has been curator since 2009. 

Dr Mary Kelly (née Healy) is Lecturer in Modern and Contemporary Global Art Histories, University College Cork, Ireland. She is also a Research Associate at the Centre for Gender and Women’s Studies, Trinity College Dublin. 

Dr Fionna Barber is Reader in Art History in the Manchester School of Art and Research Degrees Co-ordinator for Art / Visual Culture. Her research interests are contemporary and twentieth century Irish visual culture, remaking of feminist art history, contemporary women’s painting and a range of issues in twentieth century modernism including Irish modernist women artists, nation, memory and identity and gender performativity and embodiment. 

Dr. Penelope Curtis studied Modern History at Corpus Christi College, Oxford (1979–1982) followed by a Masters and PhD on French sculpture after Rodin at the Courtauld Institute of Art (1983–89). Since 2015, Dr. Curtis has served as Director of the Calouste Gulbenkian Museum in Lisbon. She ran the Tate Britain as Director from 2010 to 2015, and oversaw a number of successful exhibitions, along with the revamped Tate Britain in 2013, including the critically acclaimed rehang of its collections. She was chair of the jury for the Turner Prize. Prior to her to Directorship of Tate Britain Penelope Curtis was Curator at the Henry Moore Institute in Leeds from 1999 where she was responsible for developing an acclaimed and distinctive program of exhibitions, presenting sculpture of all periods. Alongside this she oversaw the development of the Leeds collections along with its research and publishing program, the acquisition of significant works including those by Rodin, Epstein and Calder, and built up a unique archive of sculptors’ papers.

Modern Masters Symposium: 'Hilary Heron, Ireland’s Most Promising Sculptor' (Part Four)

In this episode, Jacob Bleacher, NASA’s chief exploration scientist, tells us about the science goals of the Artemis Lunar Terrain Vehicle and how NASA is collaborating with industry to explore more of the Moon’s surface than ever before

Small Steps, Giant Leaps: Episode 131: The Artemis Lunar Terrain Vehicle

Usually, when we hear about evolution, we think of things like Charles Darwin way back in the day studying finches and tortoises. 
Human evolution is often discussed in huge swaths of time and what differentiated us from our ancient hominin relatives. But evolution is still doing some pretty neat stuff and a recent article is shedding light on how this process is still very much so in effect! Today's big question truly is are we still evolving?

Question Your World - Are we still evolving?

La curadora Lauren Hinkson comparte sus conocimientos sobre la exposición y la práctica de la artista.

Transcript
Lauren Hinkson: Les damos la bienvenida a la exposición "Jenny Holzer: Línea de luz". Soy Lauren Hinkson, curadora asociada de colecciones aquí en el Guggenheim.

Por más de cuarenta años, la artista conceptual estadounidense Jenny Holzer ha presentado sus ideas ácidas, sus argumentos y sus penas en lugares públicos y exposiciones internacionales. Su medio es el lenguaje. Ya sea sobre una placa, un cartel o un condón, la incisiva práctica de Holzer basada en el texto aprovecha el poder explosivo de la palabra escrita. La obra discute algunas de las cuestiones y los temas más urgentes de nuestra época, desde la justicia climática hasta los derechos de las mujeres o desde la guerra hasta la corrupción. Holzer es una voz vital tanto en el arte como en el activismo.

Su carrera comenzó en la década de 1970 con una serie de carteles por toda la ciudad de Nueva York y continúa con sus recientes proyecciones lumínicas sobre paisajes y edificios; su práctica se opone a la ignorancia y la violencia con humor, amabilidad y valentía. Para "Línea de luz", Holzer concibió una instalación que contiene obras de toda su carrera a manera de un proyecto conceptual único: una instalación integral que desarrolla y refracta preocupaciones sobre la sociedad, la política y el trabajo de vivir, las cuales han sido cuestiones constantes en toda su práctica.

A medida que se mueven por el museo, verán una presentación monumental y envolvente de luces LED que asciende por las seis rampas del edificio circular diseñado por Frank Lloyd Wright hasta llegar a la cima. Esta obra se titula "Instalación para el Museo Solomon R. Guggenheim". Es una obra de colección que pertenece al Guggenheim. La obra vuelve a concebir el cartel de luces LED que Holzer realizó en 1989 y se expuso aquí hace unos treinta y cinco años. 

La nueva expresión del cartel electrónico de Holzer transforma el edificio con una presentación de textos en movimiento que la artista escribió a lo largo de su carrera. La obra es tan ingeniosa como profunda, con afirmaciones emblemáticas de sus primeras obras, como “Eres la víctima de las reglas que te impones”, “La propiedad privada creó el delito” y “El abuso de poder no sorprende”. 

Los textos y los temas del cartel de luces LED también se materializan en otras obras expuestas en "Línea de luz", y así refuerzan las correspondencias en la práctica conceptual de Holzer a través del tiempo y de los medios. Además, hay nuevas obras que incorporan frases de poetas, políticos, activistas y figuras literarias, y de fuentes como expedientes gubernamentales e informes del FBI. Las frases toman nuevas formas en la exposición, como proyecciones de luz sobre el edificio y pinturas con lámina de oro.

Estos mensajes llaman a la reflexión; la artista tiene la esperanza de que agudizarán la conciencia de las personas sobre los asuntos sociales y políticos urgentes de nuestra época. Se supone que no serán solo leídas, sino leídas a conciencia.

Jenny Holzer: Light Line exhibition

Exhibition Website

Conozca los orígenes de la exposición.

La curatrice Lauren Hinkson parla della mostra e del lavoro dell'artista.

Transcript
Lauren Hinkson: Benvenuti alla mostra "Jenny Holzer: Linea di luce". Sono Lauren Hinkson, curatrice associata per le Collezioni qui al Guggenheim.

Da oltre quarant'anni l'artista concettuale americana Jenny Holzer presenta le sue idee taglienti, le sue motivazioni e le sue preoccupazioni in spazi pubblici e mostre internazionali. Lo fa attraverso il linguaggio. Che si tratti di targhe, manifesti o preservativi, l'incisiva attività testuale di Holzer si affida al potere esplosivo della parola scritta. Le opere toccano alcune delle questioni e dei temi più scottanti del nostro tempo, dalla giustizia climatica ai diritti delle donne, dalla guerra alla corruzione. Holzer è una voce vitale sia nell’arte, sia nell’attivismo.

A partire dagli anni Settanta con una serie di manifesti in giro per la città di New York fino ad arrivare alle recenti proiezioni luminose su paesaggi e architetture, la ricerca di Holzer ha sfidato l'ignoranza e la violenza con l'umorismo, la gentilezza e il coraggio. Per "Linea di luce" Holzer ha immaginato l'installazione di opere prodotte durante tutta la sua carriera come un progetto concettuale unico: un'installazione olistica che si rifà - rispecchiandole - alle preoccupazioni sulla società, sulla politica e sulla fatica di vivere che hanno caratterizzato la sua attività.

Procedendo all'interno del museo, vedrete e resterete colpiti dal monumentale display a LED che sale su tutte e sei le rampe della rotonda progettata da Frank Lloyd Wright fino all'apice dell'edificio. L'opera s'intitola "Installazione per il museo Solomon R. Guggenheim". È un'opera da collezione di proprietà del Guggenheim. Si tratta di una rivisitazione dell'insegna a LED di Holzer del 1989, esposta qui ben trentacinque anni fa. 

La nuova versione dell'insegna elettronica di Holzer trasforma l'edificio con un display di testi scorrevoli che l'artista ha scritto nel corso della sua carriera. Si tratta di un'opera ironica e allo stesso tempo profonda, con frasi iconiche tratte dai suoi primi lavori, come "You Are the Victim of the Rules You Live By" cioè "sei vittima delle tue stesse regole", "Private Property Created Crime" ovvero "la proprietà privata genera la criminalità" e "Abuse of Power Comes as No Surprise", cioè "l'abuso di potere non è una novità".

I testi e i temi dell'insegna a LED ritornano anche in altre opere esposte in "Linea di luce", avvalorando le corrispondenze nella ricerca concettuale di Holzer attraverso il tempo e il mezzo espressivo. Sono presenti anche opere recenti che riprendono testi di poeti, politici, attivisti e personaggi letterari, oltre a fonti come dossier governativi e file dell'FBI secretati. Nella mostra, questi elementi assumono nuove forme, ad esempio proiezioni luminose sull'edificio e dipinti in foglia d'oro.

Sono messaggi che fanno pensare e che, nella speranza dell'artista, dovrebbero affinare la consapevolezza delle persone sulle connotazioni politico-sociali che affliggono la nostra epoca. Sono messaggi pensati non tanto per essere letti, ma piuttosto per essere ascoltati.

Informazioni sulle origini della mostra.

Hear form current and former teens about their experiences of growing up queer and how art has helped them discover and celebrate their identities. 

Read a transcript of the podcast here: https://www.moma.org/magazine/articles/1091

Pictured: Christian Holstad. Blue Boys Don’t Need Drugs with Voulkos. 2003. Cut-and-pasted printed paper on paper, 11 × 13 3/4" (27.9 × 34.9 cm). The Museum of Modern Art, New York. The Judith Rothschild Foundation Contemporary Drawings Collection Gift. ©️ 2024 Christian Holstad

How Art Is Helping Teens Find Their True Selves

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On episode 340, an engineer at the Neutral Buoyancy Laboratory discusses how environmental effects help make spacewalk training more realistic in the 40-foot-deep pool.

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We are a global organisation of museums and museum professionals committed to the promotion and protection of cultural heritage.

Rematriation Of Memorial Totem Pole

ICOM — International Council of Museums

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