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Forbes
19 minutes ago
- Forbes
Celine Dion Scores A New Hit Amidst ‘Hiatus'
Celine Dion is back with a reimagined version of a beloved classic. The Canadian superstar has spent the past several years battling serious health issues, which at times made it unclear if she'd ever be able to perform again. The singer is still remaining relatively quiet, but she's back on the charts in the United Kingdom this week with a reimagining of one of her most famous singles. 'New Day' Brings Celine Dion Back Dion's 'New Day' — created alongside Swedish DJ and producer Sebastian Ingrosso — launches at No. 24 on the Official Singles Sales chart and No. 21 on the Official Singles Downloads list this week. The track earns Dion her first showing on either list so far this year. Celine Dion's Busy 2024 In 2024, despite what appeared to be a musical hiatus, Dion scores multiple new hits in the U.K. Singles like 'Set My Heart on Fire,' 'I'm Alive,' and 'Hymne à l'amour' debuted on multiple charts in the country, and now she's back after disappearing from the busy lists only a few months ago. Sebastian Ingrosso Scores His Own Big Win For Ingrosso, 'New Day' also represents a rare chart win. The cut appears to be his first entry on the U.K. downloads tally in more than a decade. His last hit on the tally was back in 2013, when 'Reload' peaked at No. 4. This tune looks to be his first placement ever on the Official Singles Sales chart. Revisiting 'A New Day Has Come' 'New Day' reimagines Dion's 2002 single 'A New Day Has Come,' which served as the title track of her bestselling album of the same name. The original reached No. 22 on the Hot 100 and climbed to No. 7 on the U.K.'s main singles tally.
Forbes
20 minutes ago
- Forbes
Art Review: Museum Cantini Debuts First Giacometti Exhibition In Marseille
Alberto Giacometti at Museum Cantini, Marseille © Lee Sharrock © Lee Sharrock For the first time in its history, Marseille welcomes a major exhibition dedicated to the towering figure of 20th-century sculpture: Alberto Giacometti. Hosted by the Museum Cantini and organised in collaboration with the Fondation Giacometti in Paris, Alberto Giacometti–Sculpter le Vide is more than a retrospective. It's a deep and meditative exploration of Giacometti's obsession with space, absence, and the void–a subject that permeates every facet of his practice, from his earliest Cubist experiments to his haunting, elongated post-war figures. Curated jointly by Romain Perrin (Fondation Giacometti), Ines de Bordas (Fondation Giacometti), and Louise Madinier (Museum Cantini), the exhibition gathers over 90 works–including sculptures in plaster and bronze, alongside paintings, drawings, and prints–to interrogate the central question of emptiness in Giacometti's oeuvre. Through this lens, Sculpter le Vide succeeds in offering both a chronological and thematic journey, one that immerses viewers in Giacometti's shifting but always spatially-attuned vision of the human form. A Dialogue with the Void 'Giacometti is a sculptor of emptiness,' wrote Jean-Paul Sartre, who saw in the artist's work an existential confrontation with the nothingness that surrounds and defines human presence. This philosophical grounding provides the conceptual backbone for the exhibition, which unfolds across four rooms, each with a distinct atmosphere and rhythm. The scenography–designed by a Paris-based studio–intuitively mirrors the progression of Giacometti's thought, emphasizing space, shadow, and form in careful balance. Museum Cantini's own architecture plays a significant role. The former 17th-century mansion, generously gifted to the city by Jules Cantini in 1916, is both intimate and grand. Its luminous rooms and flowing transitions set the stage for a show that is as much about seeing as it is about feeling. The exhibition opens with Giacometti's early sculptural experiments from the 1920s—cool, abstract works in marble and plaster that already hint at his preoccupation with volume and absence. Here, influences from Cubism and non-Western art abound. Works like Le Couple (1926) and Femme (plate III) (1927–29) reduce the human form to minimal shapes and incised lines, recalling stelae or ceremonial tablets. These are not depictions but evocations—carved spaces where presence and absence intermingle. Dominating this first room is Femme Cuillère ( Spoon Woman , 1927), a totemic form whose concave belly is both womb and void, echoing the shape of a spoon and the hollowness within. A perfect encapsulation of the show's title, it's also an emblem of Giacometti's early synthesis of surrealism, abstraction, and ritual. 'It's about sculpting around space, not just mass,' says curator Romain Perrin. 'This work defines his approach to negative space.' Femme Cuillère (Spoon Woman, 1927) at Museum Cantini, Marseille. Photograph © Lee Sharrock © Lee Sharrock From Surrealist Dreams to Personal Loss As we move into the second section, the tone shifts. Here, the Surrealist years take centre stage, and Giacometti's engagement with dreams, desire, and psychological space comes to the fore. These works are darker, stranger, and more volatile–rooted not in form, but in feeling. One standout is Boule suspendue (1930), a delicately perverse assemblage where a ball hangs by a string over a curving form in a cage-like structure. At once erotic and enigmatic, the piece invites viewers into a surreal landscape where meaning constantly slips. Alberto Giacometti, Boule suspendue, 1930, Museum Cantini, Marseille © Lee Sharrock © Lee Sharrock Nearby, Fleur en danger (1932) and the painting Le Palais à 4 heures du matin (1932) extend this dreamscape. But it is L'Objet invisible ( Hands Holding the Void , 1934) that marks the emotional and thematic climax of this section. Made shortly after the death of Giacometti's father, this sculpture of a masked figure cupping an invisible object is loaded with grief and mystery. The face, eerily reminiscent of Egyptian death masks or the metal face shields used in WWI, serves as both a personal relic and a universal symbol of mourning. Curator Louise Madinier explains that the exhibition deliberately places this work at a narrative turning point. 'It's an object of absence–there's nothing between the hands, yet the gesture is everything,' she says. 'This is where Giacometti starts truly sculpting the void.' Alberto Giacometti, L'Objet invisible, 1934-1935, plâtre, 153 × 32 × 29 cm, Fondation Giacometti. Photograph © Lee Sharrock © Lee Sharrock Post-War Bodies and Fragile Existences The third room of the exhibition focuses on Giacometti's post-war period–the era of arguably his most iconic signature works. Here, the artist returned to figuration, but through a radically altered lens. Figures stretch, thin out, and dissolve into space, simultaneously monumental and spectral. These are beings in flux, caught between presence and disappearance. The exhibition's scenography again reinforces this tension. Very Small Figurine (1937–39) consists of a tiny figure displayed within a large glass case, its scale exaggerated by its environment. The emptiness around it becomes a kind of force field, amplifying its vulnerability. Similarly, Woman with a Cart (1943–45), The Nose (1949), and Large Woman I (1960) all explore how figures might inhabit–or resist–space. Perhaps the most theatrical display is Woman on a Chariot , set within a circular architectural partition that restricts sightlines and invites discovery. Only upon moving through the space does the viewer encounter the platformed sculpture in full–a deliberate staging that echoes Giacometti's interest in perception and movement. Light plays a critical role here too. Instead of flattening the forms, the museum's lighting scheme accentuates textures, drawing out the etched surfaces, gouges, and contours that make Giacometti's work so tactile. Alberto Giacometti - Sculpter le Vide at Museum Cantini, Marseille © Lee Sharrock © Lee Sharrock A Museum Within a Museum The final room, titled L'Atelier de l'Imaginaire (The Imaginary Museum), is both epilogue and expansion. Inspired by André Malraux's 1947 book Le Musée Imaginaire , which posits that all of art history can live in the mind's eye, this space brings Giacometti's influences full circle. Here, the artist's drawings and archival documents are presented alongside ancient artifacts and non-Western objects from Marseille's own Musée d'Arts Africains, Océaniens, et Amérindiens (MAAOA) and the Museum of Mediterranean Archaeology. Rather than presenting these juxtapositions as hierarchies or appropriations, the curators aim to create a respectful dialogue–one that acknowledges the complexity of influence without collapsing it into caricature. 'We didn't want to reproduce a colonial gaze,' explains Perrin. 'Each object is shown for what it is, in conversation with Giacometti's search for a universal form.' The room's inclusion also serves to root Giacometti within Marseille's Mediterranean identity. As a port city and cultural crossroads, Marseille feels like a fitting host for an artist whose imagination roamed from the Cycladic isles to the Egyptian tomb. Giacometti himself wrote in 1965: 'All the art of the past, from all eras, from all civilizations, arises before me; everything is simultaneous as if space took the place of time.' And as Perrin points out, Giacometti himself was a great museum-goer: 'He looked everywhere, at every time period, every culture. His work belongs to a global conversation about the human condition.' Alberto Giacometti - Sculpter le Vide at Museum Cantini, Marseille © Lee Sharrock © Lee Sharrock A Long-Overdue Encounter The significance of Sculpter le Vide being held in Marseille cannot be overstated. Despite being France's second-largest city and home to a rich artistic tradition, this is the first time a major Giacometti exhibition has been presented here. As Perrin notes, 'The Museum Cantini is not only the right place architecturally–it also houses works by artists who were close to Giacometti, including André Derain, Balthus, and other Surrealists. He is surrounded by his friends.' More than just a landmark exhibition, Alberto Giacometti – Sculpter le Vide is a rare opportunity to encounter the artist's universe up close and in dialogue with the city of Marseille. It invites viewers to pause, to contemplate space not as absence, but as a force in itself. Giacometti's figures may be skeletal, even ghostly, but they are never hollow. In their solitude, they make the invisible visible. And in their emptiness, they hold everything. Alberto Giacometti - Sculpter le Vide at Museum Cantini, Marseille © Lee Sharrock © Lee Sharrock Alberto Giacometti – Sculpter le Vide is at Museum Cantini, Marseille until 28th September, 2025. Co-organised by la Ville de Marseille – Musées de Marseille and la Fondation Giacometti, Paris .
Yahoo
an hour ago
- Yahoo
George Clooney Plays an Unhappy Movie Star with Adam Sandler as His Manager in 'Jay Kelly' Trailer
'Jay Kelly' will open in select theaters Nov. 14, then stream on Netflix Dec. 5NEED TO KNOW George Clooney and Adam Sandler star in the first trailer for Netflix's Jay Kelly The film is from Marriage Story director Noah Baumbach and also stars Laura Dern, Billy Crudup, Riley Keough, Isla Fisher and more Jay Kelly is in select theaters Nov. 14, then streaming on Netflix Dec. 5George Clooney, Adam Sandler, Laura Dern and Billy Crudup are teaming up with writer-director Noah Baumbach for a new comedy. On Tuesday, Aug. 5, Netflix released the first trailer for Jay Kelly, the first movie by Marriage Story director Baumbach, 55, since 2022's White Noise. 'Everybody knows Jay Kelly, but Jay Kelly doesn't know himself," reads a tagline for the movie, shared when Netflix first unveiled its released date and an image of Clooney in the film in May. The film "follows famous movie actor Jay Kelly (Clooney) and his devoted manager Ron (Sandler) as they embark on a whirlwind and unexpectedly profound journey through Europe. Along the way, both men are forced to confront the choices they've made, the relationships with their loved ones, and the legacies they'll leave behind." Sandler, Clooney and Dern lead an ensemble cast in Jay Kelly that also features Grace Edwards, Stacy Keach, Riley Keough, Emily Mortimer, Isla Fisher, Patrick Wilson, Nicôle Lecky, Thaddea Graham, Jim Broadbent, Eve Hewson, Alba Rohrwacher, Lenny Henry, Josh Hamilton and Baumbach's wife Greta Gerwig, with whom he co-wrote 2023's smash hit Barbie. Gerwig, 41, has largely transitioned to working as a director in recent years, but she last appeared on the big screen in Baumbach's White Noise, which also starred Adam Driver. For Jay Kelly, Baumbach and actress Mortimer, 53, co-wrote the screenplay. Scott Stuber, a former Netflix executive who left the company in 2024, described the movie to Collider back in November 2023 as "an excellent kind of Jerry Maguire-esque, for lack of a better analogy," and also called it "a really great life-affirming movie," while Netflix itself described the film on Tudum as "a heartbreaking comedy." Jay Kelly is in select theaters Nov. 14, then streaming on Netflix Dec. 5. Read the original article on People
