
Coleen and Wayne Rooney look smitten in Ibiza as they join his former Manchester United teammate John O'Shea on a sun-soaked boat trip
The WAG and her former Manchester United star husband, both 39, have been enjoying a holiday in the party island.
And on Wednesday, the couple headed on a luxury boat trip joined by a group of pals including Wayne's former Man U teammate, Irish national team assistant manager John, 44.
Coleen looked radiant as she wore a green, white and purple ruched strapless summer dress.
She cosied up to her husband, sitting on his knee while raising a glass of champagne as the group posed for selfies.
The group - which also included the Rooneys' longtime pals Michael and Lisa Carrick - were seen enjoying a lavish day on the boat ride with Fancy Boats Ibiza, complete with champagne, cocktails, cheese boards, and fruit platters.
It comes after Coleen was spotted looking gorgeous in a £360 crochet bikini by Missoni as she hit the beach on Monday with husband Wayne and friends Michael and Lisa.
The WAG flaunted her toned and tanned figure in the skimpy swimwear which she paired with Miu Miu shades.
Mum of four Coleen cooled down with a dip in the sea with Lisa, who looked gorgeous in a burgundy bandeau bikini.
Coleen and Lisa have been close friends and holiday companions since their husbands were Manchester United teammates.
Meanwhile Wayne, looking casual in a white t-shirt and blue cap, was spotted happily chatting to Michael and Lisa whilst enjoying a crisp glass of white wine on the beach.
Their holiday comes hot on the heels of Coleen's rival Rebekah Vardy speaking out on their Wagatha Christie drama.
She has claimed she faced 'more scrutiny than murderers and paedophiles' amid the court case.
In 2019, the WAG was publicly accused of leaking stories about Coleen to The Sun newspaper, which she furiously denied, resulting in a high profile court battle.
Rebekah, 43, suffered further humiliation when she lost her libel case and in a fresh blow last month she was ordered to pay £1,190,000 of Coleen's legal bills.
And earlier this month the mother-of-five has claimed the backlash towards her was disproportionate and has continued to protest her innocence.
In an interview with Vanity Fair, Rebekah insisted: 'I didn't sell stories to The Sun newspaper and that really is the end of it'.
Claiming that she 'got the raw end of that', she continued: 'In fact, I think murderers and paedophiles have faced far less scrutiny than I did.'
Yet Rebekah noted that now she's 'at peace' and is looking forward, in particular, to an upcoming Netflix documentary about husband Jamie.
She also revealed that she is still in touch with Caroline Watt - her former agent - who she claimed was responsible for leaking the stories behind her back.
Caroline was also the owner of a mobile phone filled with evidence that ended up at the bottom of the North Sea - or 'Davy Jones's locker' as it was famously dubbed in court.
Rebekah claimed that Coleen's legal team had been 'unfair and completely unjust' in serving paperwork to Caroline's home rather than through her lawyers and that Caroline had been through 'considerable anguish'.
Caroline did not testify during the trial, after being deemed 'not fit to provide oral evidence', and is yet to provide comment on the matter.
When told that fans would be keen to hear Caroline's side of story, Rebekah mused: 'Well, maybe there's a different version of that completely.'
A source close to Rebekah told MailOnline: 'It's a huge relief for Rebekah that this long legal battle is now coming to an end.
'She's looking forward to putting the whole ordeal well and truly behind her.
'Now she's just focusing on the future. And there are some big plans coming up for her now that she just wants to get cracking with.'
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The Guardian
16 minutes ago
- The Guardian
‘Free of human logic': the modern artists inspired by surrealism's 100-year-old parlour game
Some time in the winter of 1925-1926, the French author André Breton and his comrades Yves Tanguy, Jacques Prévert and Marcel Duchamp invented an old-fashioned parlour game. You write a word on a piece of paper, then fold it over so the next person can't see what you've written, and you end up with a strange sentence. The game is now known as Exquisite Corpse, after the result of their first go: Le cadavre exquis boira le vin nouveau (The exquisite corpse will drink the new wine). Exquisite Corpse gave Breton so much joy because it summed up the essence of the surrealist school of art he was trying to articulate at the time. In his first 1924 manifesto, he told budding surrealists to put themselves in 'as passive, or receptive, a state of mind' as they can and write quickly. Forget about talent, about subject, about perception or punctuation. Simply trust, he writes, 'in the inexhaustible nature of the murmur'. 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'I think to not understand is a very important space,' she says. 'To be free of human logic.' Dimitri Rataud, a French actor turned artist, whose work is now on show at HIS Paris gallery, makes what he calls 'haikus marinières': surrealist-inspired concrete poems he finds by blacking out most of the words on a ripped-out page of a random book. The name itself is a word play: the pieces look like Breton tops AKA marinières because of the stripes. And the poems (et soudain … le bonheur – 'and suddenly … happiness') are as light as a feather on the breeze. The printed word, which he handles like a builder might a brick, is useful raw material. And each poem is but a moment. Rataud starts by tearing the cover off the book then opening it on the last page. He can never do the same thing twice. To his gallery's dismay, he refuses to make copies. Rataud is popular on Instagram, and you can of course see why: Breton tops, French romance, Japanese minimalism. 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'I would love it if people just take things out of their own accord,' says Chong. 'Coming from Singapore, which is an extremely paternalistic, authoritarian state, a lot of my work is not about telling people what they cannot do.' In November 2024, South Africa-based Nhlanhla Mahlangu, who is a long-term collaborator of William Kentridge, gave a performance lecture titled Chant for Disinheriting Apartheid. It collates several spoken word compositions and improvised works, which delve into the brutal flattening of colonial oppression: language stolen, names mangled, bodies which have learned to recognise different guns by the sounds they make. In one section, he performs, one by one, various unrelated sentences in the languages of isiZulu, Sesotho, Xitsonga, Venda, Xhosa. And then, 'the language of apartheid'. He stands stock still, in total silence, for two whole minutes. He recounts doing a workshop with children from Hillbrow, a part of inner Johannesburg beset by high crime and intense poverty. They were working on a performance of Aimé Césaire's 1939 masterwork, Return to My Native Land – a gut punch of a poem against colonialism, which Breton called 'the greatest lyrical monument of this time'. Mahlangu's students, who were witnessing crime and death and abandonment on the way to class, said: 'We experience surrealisms every day. We don't understand why people go to universities and study it. Our lives are surreal.' 'Surrealism offers ways to look awry at things,' says Patricia Allmer, an art historian at the Edinburgh College of Art. She recently co-curated The Traumatic Surreal at the Henry Moore Institute in Leeds. 'Because you can't encounter trauma head on, you have to find ways of seeing it, either as a distortion, through a distorting lens or from the side.' For Mahlangu, it is about 'bringing fluidity to what seems stable, and understanding that stability can be a weakness. It's constantly not answering the question, but questioning the answers, asking more questions.' In the 21st century, we may have grown wary of 'isms' in art. In a climate of constant technological and economic interruption, the promise of a transformative cultural revolution can feel suspicious; the most powerful movement in modern art, contended a recent article in the Art Newspaper, may be the art market itself. But it's worth remembering that when Breton first wrote about his ideas in 1924, he didn't think of it as a manifesto, just a preface to a book of poems he wanted to publish. And that's why Exquisite Corpse sums up surrealism's most lasting legacy to modern art today: a tool that taps you into something unexplored, a game for 'pure young people who refuse to knuckle down'.


The Sun
17 minutes ago
- The Sun
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The Sun
17 minutes ago
- The Sun
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