“My work is mainly about emotions” answered Hélène Picard, when asked about her inspirations. The French Painter and Sculptor, who studied visual and Fine Arts at Beaux-Arts Paris, materializes in her artworks her way of feeling and perceiving people, atmosphere of an environment, etc. “Whatever I see, I can receive very strongly and deeply […] Even if you see a landscape. For me a landscape represents some inner emotions. It is a way of constructing a bridge between both, the external elements and what we have inside of us”.
“You got to have time in your life when you doubt what you are doing.” One thing that Vanessa Notley did not doubt is the fact that she wanted to be an artist from her early years. For the rest, the Scottish Drawer and Sculptor based in Sètes (Southern France), constantly looks at challenging herself and doubting what she does.
It all started when facing the choice as a teenager to go either to University or Art College.
Bernd Rosslenbroich is the head of the Institution for Evolutionary Biology at the private university, Witten/Herdecke. In his book “On the Origin of Autonomy”, Rosslenbroich considers the big changes where evolution is not only the adaption of environmental conditions, but an interaction and exchange between organism and environment.
This point of view promised to be an especially fascinating talk, because Rosslenbroich considers playful procedures to be an important component for flexibility and autonomy.
This is an excerpt from the book Knowledge Management Matters, chapter excerpt: Innovation by Age of Artists member Stephanie Barnes.
A creative mindset is comprised of the items that we can learn from da Vinci or Van Gogh as well as the practice of innumerable other artists. All of these items have been summarized and put into a framework developed by Age of Artists, a consultancy, education provider, and research institute based in Germany.
On a sunny friday afternoon I find myself in a lively street in the center part of Prenzlauer Berg in Berlin. The Dutch musician Rik Spann and today’s interview partner Stephen Nachmanovitch are at my side. Stephen came here to give one of his popular improvisation workshops. Rik and I are two of the participants. None of us know that area of Berlin so we decide to go to an Italian restaurant just a few steps away; artists need to eat as well.
Michael Spencer played for 14 years with the London Symphony Orchestra, before he decided to give up his career as a professional musician and become an education director at the Royal Opera House. In this job, he started to look at how he could give children a better understanding of arts, or the artistic processes. Nowadays, as a coach and consultant, he is basically doing the same thing. The difference being that he shares his experience primarily with adults in organizations and he has created a close connection to Japan and the people living there.
“I never thought of doing something else than music”. Truly passionate about music and raised in an artistic environment, Lubnan Baalbaki started by studying violin at the national conservatory of Lebanon, before pursuing musicology studies in Lebanon at the Saint-Esprit Université with the aim to become a conductor.
The opportunity to reach his goal appeared when he travelled to Romania and met Petre Sbârcea, a maestro who would be his first teacher and mentor.
For the first time, over ten members of our network have been involved in projects and events in very different contexts this year. Examples are the German Society for International Cooperation (GIZ), the German Statutory Accident Insurance (DGUV), IT companies Comparex and Incadea, the Association of German Business Engineers (VWI) and the German railway network (Deutsche Bahn).
Our ideas on cultural education were featured in a publication by the Association of Arts and Culture of the German Economy at the Federation of German Industries e.V., while the Werte-Index, an institution mapping how and in which context societal values are discussed on the internet, published an interview with us.
Jan Brueghel the Elder, scion to an eminent Flemish dynasty of painters, was doing well in his day. On an equal footing with Peter Paul Rubens – both men used to work conjointly on paintings at times – Flower Brueghel, as he was aptly called, was one of the leading painters at the turn of the 17th century. But why should this be of interest to us? Still lifes, especially from these days, are not precisely at the core of the contemporary interest in art.