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15 Mar 2023
Introduction to The Heart Gallery with Rebeka Ryvola de Kremer & Alice Irene Whittaker
For Episode 1 of The Heart Gallery Podcast, Rebeka Ryvola de Kremer introduces the podcast in conversation with writer & podcaster Alice Irene Whittaker.
Visit The Heart Gallery's visual accompaniment for this podcast episode here(podcast transcript also available here).
For Episode 2 of The Heart Gallery Podcast, I talk to nature's cartoonist, Rohan Chakravarty. Rohan's cartoons about animals, the natural world, and human-environment connections are published as comic strips, books, and educational materials all around the world. He is talented, hilarious, and a critical voice for the voiceless. Listen to be charmed and educated by the inimitable Rohan Chakravarty.
Visit The Heart Gallery's visual accompaniment for this podcast episode here(podcast transcript also available here).
Rohan's HW: "Just take a look at the nearest tree from your window and make a note of what happens on that tree over one or two hours. Whatever time you can devote. I think that would be the best gateway into nature. I don't think you are going to look back after that."
For Episode 3 of The Heart Gallery Podcast, Rebeka Ryvola de Kremer talks to artist Joyce Yu-Jean Lee. Joyce works with video, digital photography, and interactive installation that combine social practice with institutional critique. Curious about how the act of seeing is transformed by technology, her artwork examines how mass media and visual culture shape notions of truth and understanding of the “other.” Listen to hear from the incredible Joyce Yu-Jean Lee.
Visit The Heart Gallery's visual accompaniment for this podcast episode here(podcast transcript also available here).
HW from Joyce:“Next time you're in a debate with a friend or a family member about an issue, really pause and think about the perspective of the other. Before you add your answer or your own perspective just pause and really reflect on what that other person is thinking or feeling. See if you might put yourself in their shoes. Try to empathize with their point of view before you speak.”
For Episode 4 of The Heart Gallery Podcast, Rebeka Ryvola de Kremer talks to "artivist" Vidushi Yadav. Vidushi’s work revolves around gender justice, South Asian identity, access & right-based content. She is a communication & design consultant for multiple women rights, humanitarian & development organizations world-wide. Through her work she attempts to investigate gaze, representation, able-ism, gender binary, privilege & colonialism via image making. Listen to hear critical lessons & perspectives from Vidushi Yadav.
Visit The Heart Gallery's visual accompaniment for this podcast episode here(podcast transcript also available here).
HW from Vidushi:"Ask questions. And do not accept what is given to you, or what is considered the default of life. Ask, “why do I have to be like this” if something doesn't feel right. Examine where answers are coming from & look beyond the answers which are readily available. For example, there are so many things that we are told as women, like, “this is how you should be, this is how you should behave, this is what you shouldn't do, that's what you should do”. If you start asking questions, like, “why is it important for me to do this", or "what is stopping me to do that”… you can get closer & closer to what feels authentic to you."
For Episode 5 of The Heart Gallery Podcast, Rebeka Ryvola de Kremer talks to Morel Doucet. Morel is a Miami-based multidisciplinary artist and arts educator from Haiti. He creates captivating ceramic, illustration, and print works that examine the realities of climate gentrification, migration, and displacement within the Black diaspora communities. Listen and learn from the magical Morel Doucet. Visit The Heart Gallery's visual accompaniment for this podcast episode here(podcast transcript also available at this link).
HW from Morel: “Being an educator in the museum space I like inquiry. How inquiry works is that you make a visual observation of the work in front of you. Instead of coming to an immediate conclusion, you analyze a work based on its various aspects before you form a conclusion about the work. Another way of phrasing it is, “don’t judge a book by its cover”. Extend this beyond art too: give people grace, give them an opportunity. By being patient, you may uncover something new."
For Episode 6 of The Heart Gallery Podcast, Rebeka Ryvola de Kremer talks to artist Lauren Shapiro.
Lauren has spent her whole life in Southern Florida and her work explores the potential of art to cultivate awareness of the environment. She often works alongside ecologists to understand and narrate nature and she merges craft, science and technology to document disappearing ecosystems like coral reefs and mangroves with sculptural ceramic archives. Lauren talks about art as a tool for environmental stewardship in Miami and South Florida, how the enchanting and dangerously threatened Southern Florida ecosystems can be supported by art, science, and tech collaborations, and how the power of art can spark change on today's climate and environmental issues. Listen to learn from the captivating Lauren Shapiro.
Visit The Heart Gallery's visual accompaniment for this podcast episode here(podcast transcript also available here).
HW: "There is a book called "Draw It With Your Eyes Closed: The Art of the Art Assignment", it's written by artists for artists, but it can also be for anybody. It's a hilarious book. I would recommend reading that book. Each artist gives you an assignment, which go from practical to ridiculous. It's great for anyone who wants to spark their creativity or feels stuck. Again, whether you're an artist or not. It's a great way to kind of think about the world and do something silly."
For Episode 7 of The Heart Gallery Podcast, Rebeka Ryvola de Kremer talks to curators Lara Goodband & Gemma Lloyd.
Lara & Gemma are curators of Earth Spells: Witches of the Anthropocene, happening now at the Royal Albert Memorial Museum in Exeter. The exhibit features works from some incredible artists from around the globe: Caroline Achaintre, Emma Hart, Kris Lemsalu, Mercedes Mühleisen, Grace Ndiritu, Florence Peake, Kiki Smith, and Lucy Stein.Lara Goodband is the Contemporary Art Curator and Programmer at Royal Albert Memorial Museum, and Gemma Lloyd is an independent curator. Listen to Lara Goodband & Gemma Lloyd to be spellbound by the intrigue and relevance of witches throughout history and for our world today...
Visit The Heart Gallery's visual accompaniment for this podcast episode here(podcast transcript also available here).
HW from Gemma:"This is a bit of a strange one. We got my 8-year-old son a moth trapfor his birthday last year. I feel that it opens up a huge world, this nocturnal world that we never get to see, [even in the city] (I'm saying this from London). We put this moth trap out at night, and from early spring right through to autumn it's absolutely remarkable what is under your nose in your own environment, what you can see if you have the means to capture it. It is extraordinary and will give you a bigger appreciation of your position in the environment and in the world. If you can find out about another species that's within your own environment, I kind of feel like that gives you an understanding of your place within it."
Today’s guest on The Heart Gallery sparks imagination incredibly well. He is John Kazior, an American artist and writer based in Sweden. John's writing also reveals the depths of these dark arts and shares how we can come to see these efforts more clearly. He talks about how we can learn to go deeper below the surface with issues and ideas that matter the most, and how we can come to orient ourselves towards cultures of true care. I believe that John needs to create curriculum for schools everywhere, for people of all ages.
Visit The Heart Gallery's visual accompaniment for this podcast episode here(podcast transcript also available here).
HW:"One good thing to do is go out and find a nonhuman species, whether it's dead or alive, a plant or fungus or a moss or a fish or a fly. Find something and try to follow it for a little while, whether that means actually physically follow it and/or [tracing its life backwards]. Follow where it came from and try and see what you can find about it. If you really want to go the extra mile, then write or draw something about how you feel about it or the way you relate to it. And that may be just reiterating like that, oh, I found this in a supermarket. It could be as simple as that. But this [activity] is something that's usually a pretty interesting thing to do in my experience.”
For Episode 9 of The Heart Gallery Podcast, Rebeka Ryvola de Kremer talks to climate story consultant Alisa Petrosova.
This episode explores how the film and TV industry is doing on climate messaging. According to research from Good Energy and The Media Impact Project that analyzed 37, 453 scripted television episodes and films released from 2016 through 2020, less than 3% acknowledge climate change.Alisa works at Good Energy, which supports TV and film creators in telling stories that honestly reflect the world we live in now—a world that’s in a climate crisis. They have worked on the recent climate-focused Extrapolations, on Apple TV, and are focused on intersectional elements of climate stories, committed to showing how historically marginalized people are harmed “first and worst”. Alisa talks about how stories help us connect, process, and learn and how we need our stories to reflect the realities of the world and the future we want to move towards.
For the 10th episode (and the season finale!) of The Heart Gallery Podcast, I connect with my wonderful friend Taylor Freesolo Rees.
Taylor is a filmmaker, documentarian, storyteller and photographer. She has won numerous film festival awards for her work exploring environmental justice, natural resource issues, the outdoor adventure industry and its various players, nonhuman creatures and our relationships with them, and much much more. Taylor has the ability to deftly weave together myriad threads into complex story tapestries that not only manage to avoid being prescriptive but are undeniably alluring & approachable. As a storytelling mastermind, Taylor excels at showing nuance and presenting compelling questions that invite you into a deeper curiosity. Additionally, and so rarely in spaces of wicked problem-solving, through the way she lives and works, Taylor makes a case for play, whimsy, and silliness in the face of serious crises. May this episode with Taylor Freesolo Rees fortify your heart.
See herefor an accompanying blog post (including photos, a film, Taylor's HW, and the podcast transcript).
For the first episode of The Heart Gallery Season 2, I talk to PatrickGathara, The New Humanitarian's Senior Editor of Inclusive Storytelling. Patrick talks about what inclusive storytelling look like in a context where the news is changing by the minute, where echo chambers are swirling with recycled talking points, where mainstream media is saturated with dehumanization of whole groups of people, and all while a literal genocide on the people of Gaza is being carried out. We also discuss the state of inclusive journalism and the storytelling elsewhere in the world: what is going well, where we're falling short, and what we should demand more - and less - of from our media.
Part 2 will be uploaded on Monday, Nov 13. Episode blog post will be up then as well.
This is the second part of my conversation with Patrick Gathara. In this segment, we continue to dissect inclusive storytelling and its critical role in understanding humanity - both that of the world as well as our own. We cover the genocide in Gaza, inclusive stories from other context, the problems of western media today, and how to go beyond "the single story".
HW from Patrick: "The one thing I would ask audiences to do is to read up and to read up especially on history. You find very interesting things when you look even at the most ordinary things, the assumptions that you make. Let me tell you one that happened to me. I'm born in Kenya, brought up in this society where I was taught that there are things called tribes, that we are all divided into these 42 communities. And I've been there for eons - these age-old identities that we've had. But it doesn't take much to actually debunk it. It really just takes a curious manner to ask, "all right, where did that come from?". You read a bit and you find there's loads of research that's been done into this evolution of identity. You start learning how lots of what we think of as ethnic communities, if you were to go just a hundred years ago, the people who had that brand, who had that name, who had that identity, might not even recognize that. We've been taught in Kenya today that "tribe" is this totalizing identity. It captures everything, from your politics to how you live, to how you dress. Then you find, for a lot of these guys, it didn't really matter much. It was understood as a very fluid thing, while today we are being told it is kind of encoded in your genes. So understanding how the world has been made, how you have been taught to see it, through history, through your thinking about the world, it can be a really liberating experience. So, I would urge your listeners to engage in that, to think of something that they think is really important to them, that really defines them, and to ask, "why do I think that?" "Where does that come from?". To go into it and research it. And I think you will find many times that there is much more we have in common than the things that we think define us."
For the 12th episode of The Heart Gallery, I am in conversation with Gaelynn Lea. Gaelynn, a violinist and songwriter who won NPR Music’s Tiny Desk Contest in 2016, has a unique perspective on the challenges and opportunities in the music industry, especially for disabled artists. She has performed over 600 shows in 45 states and 9 countries, but her path hasn't been without obstacles. And according to Gaelynn, 26% of Americans have some type of disability, yet the music industry is far from being fully accessible or inclusive.
Here, Gaelynn talks about accessibility in the music industry, the problem with disability-based "inspiration", and creating transformative art. We also have a surprise for you: three of Gaelynn's songs are featured throughout the conversation. I am sure you will love this episode…
HW from Gaelynn: "I would say, look up those three artists I mentioned (shared below) because they're all really good. If you haven't heard a lot of disabled artists, I think there's maybe a subconscious misconception that you have to be disabled to like their music, but that is not true. They're just so good. So, look them up and then check out rampd.org, because there's around 60 artists right now as a part of RAMPD and it continues to grow. And so if you're ever feeling stuck in a musical rut, go check it out because they cover all genres." Artists mentioned: - Wheelchair Sports Camp -Ruth Lyon - Eliza Hull - Charlie Parr - Recording Artists and Musical Professionals with Disabilities (RAMPD)
In today's escalating humanitarian crises, the term itself is complex, influenced by various factors. The United Nations reports 235 million people needing humanitarian help, nearly double from a decade ago. These crises and the treatment of them, often rooted in colonialism, affect everything from resources to power structures, and, as discussed in the episode with Patrick Gathara, may perpetuate biased narratives by overlooking systemic issues.
Against this context, Pascal Hufschmid reimagines the role of the museum. Merging art with humanitarianism, his work as Director of the International Red Cross and Red Crescent Museum transforms the museum into a platform for critical societal discussions. With a background in ballet, art history, and as a United Nations tour guide, and with his commitment to art's transformative power, Pascal brings a unique perspective on these pressing matters.
HW from Pascal: Be kind to yourself. That's all I have to say. I think it's so important and so true, every day. There's big research we're conducting right now in the museum with the Swiss Center for Affective Sciences. When visiting our permanent exhibition, there's a big wall with a simple question stated: "are you kind to yourself?". And we invite people to write a message of kindness to themselves and to put it up on the wall. We've received something like 10,000 messages in six months, messages that are being analyzed by two researchers who in their postdoctoral research are studying if self compassion can be taught, and what impact it has on conflicts. They're specifically studying this in the context of the conflict between Israel and Palestine: can self-compassion actually put an end to the dehumanizing process that has a soldier [choose] to kill someone, to wipe out the specificities of this person. Also, how that that dehumanization process actually helps one live with themself after what they've done. And that is hardcore research being carried out right now. And with them, we're working at the museum to invite our visitors to reflect upon self-kindness. You know, "are you okay with yourself?" ,"How can you be kind to yourself?". And these 9,000, 10,000 messages were collectively with the researchers, and it's going to be published next year: a daily self-practice guide to compassion. So yes: be kind to yourself."
In today's episode, Justin Cook takes us into the evolving world of climate storytelling where he's been a journalist and photographer covering "communities living along the edges in America" for the past several years. Justin's work stands in stark contrast to the conventional climate storytelling landscape that's so often dominated by dire predictions and a sense of impending doom. In today's conversation, hear about how it matters so dearly to weave life, joy, color, humanity, and history into coverage on the communities most affected by the climate crisis.
Homework from Justin: "Just go outside today and enjoy where you are, just slow down a little bit." And, "Go play in a creek somewhere. You might just find a fossil." (You'll just have to listen to the episode for more about that).
This episode of The Heart Gallery will take you into the history and ongoing realities of Indigenous affairs in Canada. Recent years have shed light on a painful and violent history, as well as present-day systemic challenges. From the harrowing legacy of the residential school system, which remained active until the 1990s, to the continuous struggles over land rights and cultural preservation, these unfolding revelations have sparked crucial national and international dialogues. They compel us to face uncomfortable truths and prompt a critical re-examination of the process of truth and reconciliation.
Against this backdrop, I’m privileged to interview Christi Belcourt, an artist whose work is deeply entwined with her Métis community's stories. Christi’s art does not merely reflect Métis cultural practices and deep connection to nature; it resonates with the ongoing struggles and triumphs of indigenous people, offering a window into the soul of communities striving for justice.
We explore Christi's work while also talking about how the arts can be a conduit for expressing Indigenous voices and can play a valuable role in efforts to reveal systemic challenges.
I hope you enjoy this conversation.
Homework from Christi: "Do something that is completely selfless - and anonymous - in the aid of someone else."
A recurring theme on the podcast is the climate crisis and the ways in which artists are addressing it in their work, whether they're focused on showing ways forward for society, making the issue more concrete for individuals and specific communities, or inviting people sideways into the issue through art that is focused on elements of celebration, curiosity, care. If you listen to the podcast often, you know the last one is my personal favorite type. Tara DePorte is the guest on the podcast today. She is Executive Director of the Human Impacts Institute, building a global cultural movement around climate action. In addition to leading HHI, Tara is also well versed as an artist in climate policy and science spaces. In that way, she and I have a bit in common in terms of backgrounds and approach, which made for a fun conversation. Tara is so clear-sighted about the challenges of climate communication and climate art, I know you'll enjoy listening to her as much as I did.
Homework from Tara: "Find a group in your community that you're really excited about, that is doing work on climate in some way. And climate does not have to be in their title or the description of their mission. It can be a community garden. It can be something that's helping give girls, children, access to education. There are many different ways to engage. Connect with them, learn about them, and find a way to be a part of it by coming back to that idea of "give who you are". So have it be something that you're going to look forward to doing, that you could bring your kids to do as well, like making a community mural.
It's easy to feel alone in the world in general these days. In order to come back to a place of empathy and creation and inspiration, we really need to acknowledge how important community is in our lives. And I can speak on behalf of myself; I need to acknowledge how important community is in my life. I think the same thing goes for climate action. Going out and doing it on our own not only doesn't have as much of an impact, it's easy to get burned out or feel like we're not making enough of a difference. So start that climate community, find that climate community."
Did you know that the average person encounters 10,000 commercial images in a day? That neighborhoods where people have lower incomes tend to have more advertisements for unhealthy foods and have more stores selling and advertising commercial tobacco? That the majority of images we see of the African continent are mostly from Western sources? This is some of what I’ve learned from the new book, The Digital Detox, by Marine Tanguy, who is my guest in this episode.
Manufactured visuals surround us everywhere we go, offline and online, and if we aren’t vigilant, it is almost impossible not to be overstimulated and manipulated from when we wake to when we sleep. Naomi Klein said in an interview recently something that’s stayed with me: “we’ve become machine food!” That visual of human machine food stuck in my mind while reading the Marine’s book. Her book is essentially a guide on how not to become machine food. And according to Marine, a key to that is art, which helps us activate our critical thinking and our imagination, while also being a medicine for our spirits.
Marine is CEO of MTArt Agency, a talent agency for artists. She has held high profile positions in the art world since she was 21, starting as a gallery manager of the Outsider's Gallery in London, which was the first to showcase the work of Banksy, and she was on a Forbes 30 under 30 Art & Culture list.
The thread that runs through The Heart Gallery podcast is that art and stories are what bring us together and move our society forward into a more caring future. So of course I was so excited to talk to Marine. Marine’s mission is to bring art out of what we think of traditional art spaces - galleries, theaters, museums, fancy places - and into the heart of society, art representative of everyone and for all. That is a mission we can all get behind. I hope you enjoy listening to Marine Tanguy.
Homework from Marine: "Take a couple of minutes to close your eyes and think, "what have I seen today?" Try to understand how what you saw made you feel. This will help you to start to be aware of the impact that images have on you."
In this episode launching on Juneteenth, come on a trip down the road from Selma, Alabama - home of the 1960s Selma Voting Rights Movement and the Selma to Montgomery marches - to the tiny little enclave of Gee’s Bend, situated in a bend of the Alabama river. This is the home of the famous Gees Bend quilters.
The community of Gee’s Bend, Alabama, traces its roots back to the enslaved individuals who toiled on Joseph Gee’s cotton plantation established in 1816. After the Civil War, ancestors continued to live and work on the plantation as sharecroppers. The economic downturn of the 1930s, marked by plummeting cotton prices, threatened the community's survival. In response, the Federal Government intervened during the Depression, purchasing ten thousand acres of the former plantation. They offered loans to the residents, enabling them to own and cultivate the land their forebears once worked unpaid. The people of Gee’s Bend managed to keep their land and homes, preserving and cultivating cultural practices… Such as quilt-making.
In the 1960s, inspired by a visit from Martin Luther King Jr., the Gees Bend community became active in the Civil Rights Movement, traveling by ferry to Camden to register to vote. In retaliation, authorities discontinued the ferry service, isolating Gee’s Bend from essential services. During this challenging time, local women established the Freedom Quilting Bee, a cooperative that provided vital economic opportunities and political empowerment.
Despite this past filled with hardship, the quilting tradition of Gee’s Bend, which began in the 19th century, has survived and flourished. The New York Times has praised Gee’s Bend quilts as “some of the most miraculous works of modern art America has produced.” These quilts represent a significant chapter in American art history and are now part of the permanent collections of over 30 major art museums.
Set against this historical backdrop is the conversation I had with Loretta Pettway Bennett. Loretta is a celebrated member of the Gee's Bend quilters, a group of (mostly) women whose incredible works not only bring their beauty to museum walls but have also weave important stories of Black American history, culture, and vision. Listen to hear about Loretta's stories and experiences growing up in this incredible arts community.
In this episode, we step into the world of ethnomusicology with Angela Impey. Angela is a researcher, author, and senior lecturer at the School of Oriental and African Studies in London, where she explores the links between music, culture, and social change.
Angela shares her experiences during apartheid in South Africa, where music became a powerful form of political expression, along with stories from several ethnomusicology projects across the African continent. She explains how performance-based knowledge systems are important in addressing global challenges like the climate crisis, and what constitutes “proper knowledge”. We discuss how we can bridge between mainstream paradigms and other, but no less valid, frameworks of understanding our surroundings.
Songs around the world hold histories, clues, concepts, connections, and characters that have been not listened to, not heard, by so many. You surely won’t listen to your surroundings the same way after hearing from Angela. I hope you enjoy this invitation into the world of ethnomusicology with Professor Angela Impey.
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