Latest news with #ModernArt
UAE Moments
21-07-2025
- Entertainment
- UAE Moments
♒ Aquarius Daily Horoscope for July 21, 2025
The Sun is officially vibing in fellow air sign Gemini, and that means one thing: you're feeling lighter, sharper, and a little more rebellious than usual, in the best way. July 21 brings a wave of ideas, unexpected inspiration, and social sparkle. You're not just thinking outside the box, you're repurposing it as modern art. 🔮 You, But More Interesting You're already known for your originality, but today it's next-level genius mode. You might have 10 tabs open in your brain and 3 passion projects in the works and that's exactly how you like it. Lean into the weird, the wonderful, and the 'what if?' Aquarius tip: If it feels too out-there to say aloud, it's probably worth exploring. 💼 Career & Money: Trust Your Quirky Instincts This is a great day to pitch a bold idea or shake up a boring process. Others might not see your vision yet but they will. Use your creativity to find solutions no one else can, and don't second-guess that hunch. There's power in your originality. 💖 Love & Friendship: Curious Minds Attract You're craving mind-meld energy in your relationships. Whether you're single or taken, deep, offbeat conversations light your fire today. Someone who challenges the way you think, not just how you feel, will feel extra magnetic. Get weird together. 🧘♀️ Mood & Vibe: Freedom Meets Flow You're all about liberation today. Free your calendar, free your thoughts, free yourself from shoulds. Whether it's decluttering your space or unsubscribing from someone's drama, you're clearing the path for what actually matters to you. Lucky Color: Teal Lucky Numbers: 11 & 23 Cosmic Playlist Song: 'Electric Feel' – MGMT Affirmation of the Day: 'I honor my vision, trust my timing, and lead with authenticity.' Aquarius Thought for July 21: Your originality isn't a phase, it's your power. Today, let it lead the way. Create. Connect. Question everything. You're not here to fit in, you're here to change the narrative. And you're doing it beautifully.
South China Morning Post
06-07-2025
- Entertainment
- South China Morning Post
How 20th-century Hong Kong and Guangdong art stood out from the rest of China
For China, the early- to mid-20th century was a time marked by political and social upheaval. It began with the Xinhai Revolution, which saw the end of the imperial system, before the Second Sino-Japanese War rocked the nation. The Chinese Communist Revolution and Cultural Revolution signified massive political and social shifts. In 1949, after the Communist Party took power, a border was put up between mainland China and Hong Kong. Against this complex backdrop, Cantonese artists adopted new ways of expression that culminated in a modern artistic identity. This identity is now being examined in 'Canton Modern: Art and Visual Culture, 1900s-1970s' at Hong Kong's M+ museum. An artwork by Yip Yan-chuen depicting Hennessy Road in Hong Kong. A series of landscape sketches at the 'Canton Modern' exhibition chronicle Yip's life as a wartime refugee. Photo: M+ The exhibition, which runs until October 5, brings together 200 works from the museum's own collection, as well as from other institutions and private collections.
Asia News Network
04-07-2025
- Entertainment
- Asia News Network
‘The Jakarta Salon': Remembering a home that nurtured Indonesian maestros
July 4, 2025 JAKARTA – Today, Indonesian maestros such as Affandi, Ahmad Sadali, Hendra Gunawan and Srihadi Soedarsono are celebrated as forefathers of Indonesian modernism, their works revered both at home and on the global stage. But once, they were struggling young artists, striving to make their mark in the newly independent Indonesia. In those formative years, many found themselves drawn to Jl. Pasuruan No. 3 in Menteng, Central Jakarta, the home of Alexander and Caecilia Papadimitriou, where they would sip coffee, tea or whiskey, nibble on pisang goreng, exchange ideas and develop their artistic paths. There, they found not just friendship, but genuine support; the kind that helped them grow, persevere and realize their full potential. These precious, yet little-known stories are now revealed in the newly published coffee-table book The Jakarta Salon: The Patronage of the Papadimitrious – Shaping Modern Art in Indonesia. Authored by Hong Kong-based art specialist Rishika Assomull, the 293-page volume was launched at the very place where it all began: the Papadimitrious residence. A house that made history 'Alexander and Caecilia Papadimitriou's home was not merely a place to house themselves and their five children,' Assomull said during a special interview with The Jakarta Post at the book launch on June 16. 'During the second half of the 20th century, this was the nucleus of the Indonesian art world, a space that helped transform overlooked, hungering artists into globally revered modern masters.' Assomull was first introduced to Caecilia Papadimitriou during a visit to Jakarta in 2014 by her colleagues at Sotheby's Singapore. She was immediately drawn in, not only by the depth of the family's private art collection, but also by Caecilia's vivid recollections of her late husband's friendships with some of Indonesia's most celebrated artists. Two years later, their paths crossed again at an art fair in Singapore, where Assomull casually remarked that someone ought to write a book about Alexander Papadimitriou's role in shaping Indonesian modern art. 'Alex has already passed away, and now these memories are all in your mind,' she told Caecilia. 'They're not written out. It's a chapter in Indonesian art history that's just missing. And it's an important chapter.' To her surprise, Caecilia immediately replied: 'Why don't you write my book?' Traces of history: Rishika Assomull poses with her new book, The Jakarta Salon: The Patronage of the Papadimitrious – Shaping Modern Art in Indonesia, during its launch on June 16 at the Papadimitriou family residence on Jl. Pasuruan in Menteng, Jakarta. JP/Sylviana Hamdani (JP/Sylviana Hamdani) A nine-year labor of love Assomull took on the task, beginning a nine-year journey of unfolding memories, intimate conversations and careful archival work. She spoke with Caecilia, the Papadimitriou children, family friends and artists whose lives had touched theirs. The result is a deeply personal and finely layered volume, a testament to a couple whose quiet conviction and discerning eye helped shape the trajectory of Indonesian modernism. Assomull, now senior director at Villepin Art in Hong Kong, was definitely the right person to write the book. Having grown up in Jakarta and spent over a decade at Sotheby's in New York and Singapore, she brings a deep understanding of the Southeast Asian, and particularly Indonesian, art scene. She also writes evocatively, especially in the section that traces the family lineages of Alexander and Caecilia. What could have been a dry and complex genealogy unfolds instead with the ease and intrigue of an adventure novel. The narrative opens with a vivid scene: Alexander's mother going into early labor deep in the forests of Pulau Rimau, South Sumatra. From there, the story gradually expands, weaving in details about his father, the family's circumstances and the broader historical landscape of the time. These background narratives, though far-reaching at first glance, ultimately shed light on Alexander's character and later endeavors. Black-and-white photographs further enrich these passages, bringing both the stories and the era to life. Where art and life intertwined Assomull's rich, evocative diction adds texture throughout the book. Her portrayal of Alexander and Caecilia's first meeting is especially charming, leaving readers smiling and perhaps recalling their own romantic memories. Their contrasting personalities, as revealed in the book, complemented each other perfectly and formed the foundation of a resilient partnership that endured nearly five decades. In the following chapters, The Jakarta Salon traces the Papadimitrious' enduring friendships with Indonesian artists and their unwavering support. Alexander's connection to many of Indonesia's modern masters began in the early 1950s, while he was working at the Indonesian Embassy in Rio de Janeiro. Assigned to curate the country's presentation at the second Bienal Internacional de São Paulo (Dec. 13, 1953-Feb. 26, 1954), he hosted several Indonesian artists, including Affandi, at his home, forging bonds that would last a lifetime. After settling in Jakarta with Caecilia, their home on Jl. Pasuruan became a gathering place for artists, collectors and curious visitors. As the book recalls, Caecilia always cooked more than enough for their family of seven, knowing guests would likely arrive unannounced. 'Artists of all ages came by,' recalled Constantin Papadimitriou, the couple's third child, during the book launch. 'His friends would visit, too. The flow of guests was truly nonstop.' Alexander, quiet and generous, often bought works from artist friends, especially when they needed help covering children's school fees, medical bills or simply getting by. He also invited collectors into the home, nudging their interest toward Indonesian modern art and helping to grow the market. 'What moved me most about the book were the deeply personal things Papi did for the artists,' said filmmaker Nia Dinata, wife of Constantin. 'He stood by them, believed in them and helped them through some of the hardest moments in their lives.' The book recalls how Alexander encouraged Srihadi Soedarsono to keep painting and continue teaching at the Bandung Institute of Technology (ITB), even as he faced intense criticism in the 1960s. It also tells the story of Hendra Gunawan, who, after his release from prison, turned to Alexander for guidance. In response, Alexander organized a solo exhibition in Jakarta in 1980, where all of Hendra's paintings were sold. The proceeds enabled the artist to move to Bali and live out his final years in peace. Friend in me: A section of the book is devoted to the friendship between Indonesian maestro Affandi and Alexander Papadimitriou. Featured on these pages are a photograph of the two friends, a handwritten letter from Affandi to Papadimitriou dated Aug. 7, 1965, and a catalogue from Affandi's 1966 exhibition in Rio de Janeiro. JP/Sylviana Hamdani (JP/Sylviana Hamdani) A final gift The book is beautifully illustrated with photographs of exquisite artworks by Indonesian maestros. It also includes impromptu sketches left by artists in the Papadimitrious' guest book. 'It's definitely Mami,' said Nia Dinata. 'Every single day, she would spend one or two hours talking about [the book], specifying which paintings and artwork would be in it. She knew our entire collection by heart.' Sadly, Caecilia passed away in 2022, before the book was completed. Her steadfast dedication, however, is felt on every page. The book is bilingual, with the Indonesian translation completed by Ioannis Ilham Papadimitriou, Nia and Constantin's eldest son, who passed away in October last year. The first edition is limited to 1,000 copies, available at Gramedia bookstores across Indonesia for Rp 1,500,000 (US$92.36). Bakti Budaya Djarum Foundation and Yayasan Cinta Anak Bangsa (YCAB) have purchased 250 copies, which will be distributed to universities and art schools across the country. More than just a beautifully produced volume, The Jakarta Salon is a tender portrait of a couple whose quiet generosity left a lasting imprint on Indonesian art history. Intimate yet expansive, this is a story of love; for art, for community and for Indonesia's creative spirit.
Telegraph
01-07-2025
- Business
- Telegraph
This £7.5 million nude is proof that women are the future of the art world
London's summer season of Modern and Contemporary Art sales at Sotheby's, Christie's and Phillips took another step backwards last week mustering a slim £97.8 million – down 25 per cent from last June's £129.5 million, and a mind-boggling 84 per cent down on the £600 million recorded 10 years ago. The drop is due in part to Christie's and Phillips abandoning their high-value evening sales to focus on Frieze week in October, so Sotheby's was left to show the world what London could do. But while they finished streets ahead of the competition, Sotheby's £75.7 million total was a severe 41.5 per cent down on last year. Amid the gloomy statistics, however, comes a ray of hope. A pre-sale report written by number crunchers ArtTactic tracked the booming market for female artists, some of whom were to feature in the Sotheby's sale. The report calculated that between 2018 and 2024, auction sales by female artists rose from $523.7 million to $675.6 million and that the female artists' share of the market had doubled from 6.2 per cent to 13.5 per cent. In the major museums, Tate and MoMA New York, the percentage of solo shows and acquisitions of works by female artists increased to 50 per cent over the same period. The report also stated that the rate of return (Compound Annual Growth Rate) on works by 20th-century artists that had been bought and resold was much better for female than male artists, supporting the view that women artists have been undervalued. Although the report was careful to state that it did not constitute investment advice, it was hard to escape the implication that female artists were on an upward trend. And female artists turned out to be the stars of their sale. View this post on Instagram A post shared by Sotheby's (@sothebys) The top lot of the week at £7.5 million was a voluptuous female nude (La Belle Rafaëla, 1927) by the bisexual society art deco painter, Tamara de Lempicka, which was being sold by lyricist Sir Tim Rice. Sotheby's did not name him, but Sir Tim was credited as the owner when he lent the painting last year to a de Lempicka exhibition at the de Young Museum in California. He is believed to have paid about £1 million for it in 1997. As an indication of how her prices have moved, the painting was previously owned by actor Jack Nicholson after it had sold at auction for £175,000 in 1985. Other celebrity owners of her sensual, stylised work include Madonna, Donna Karan and Barbra Streisand, and a handful of Russian oligarchs. Although born in Poland, her father was Russian. While Rafaëla was not a record for de Lempicka, other female artists did attain that distinction at Sotheby's. A large Jenny Saville charcoal drawing of intertwining reclining nudes entitled Mirror, 2011-12, sold for £2.1 million. This is a record for a drawing by Saville, whose currency is no doubt helped by the National Portrait Gallery's exhibition, which runs until September. It attracted a chorus of bids, including one from the well-heeled Turkish banker, Kemal Cingillioğlu, though even he was outgunned. The other record in the sale was for a Mondrian-inspired relief painting White, Black, Blue and Red,1944, by queer/androgynous British artist Marlow Moss. Moss had previously been written off as a Mondrian pasticheur who changed her name from Marjorie to Marlow in 1919 to sound more masculine. But her originality as an artist is now recognised, and her rare work which survived a wartime bomb hitting her studio, is commanding higher and higher prices. This example, which had cost £82,000 in 2009, raced past its £200,000 estimate to sell for £609,000. Meanwhile, Elizabeth Peyton, that American painter of cultural icons, fetched her second highest price at auction with a work depicting brothers Liam and Noel Gallagher. Seemingly offered to coincide with the Oasis reunion tour, it sold for £2 million, six times its previous price in 2011. Later in the week, in the ceramic collection formed by Oxford bike shop-owner Sydney Denton, the top price by a long way was for a female artist, Dame Magdalene Odundo, whose untitled long necked burnished and carbonised terracotta pot from 1990 quadrupled estimates to set a new record – £723,000. Even discounting the ceramic sale, ArtTactic calculated that the female artists' contribution to this June's sales leapt 143 per cent from £6.9 million last year to £16.9 million, increasing their market share with the men from 8 per cent to 29 per cent. A Union Jack flag from The Battle of Trafalgar goes up for auction At five o'clock this afternoon, Christie's will offer for sale an exceptional 11-and-a-half-foot wide hand-stitched, battle-worn Union Jack flag. Once proudly flown under the order of Horatio, Lord Nelson from the mast of HMS Spartiate at The Battle of Trafalgar in 1805, and still embedded with shards of metal, the estimate is £500,000-£800,000. Nelson was one of the first naval commanders to fly the Union Jack in battle and, according to Christie's, only two other Union Jacks from Trafalgar have survived intact. One is in the National Maritime Museum, and the other, entirely coincidentally, is for sale with Greens of Cheltenham at the Treasure House Fair in London, which closes this evening at 8pm. Slightly smaller at nine feet across and priced at £450,000, this one was flown from the forestay of Vice-Admiral Lord Collingwood's flagship HMS Royal Sovereign. According to the Nelson expert Martyn Downer, who is advising Greens on the sale, neither Greens nor Christie's knew another flag was coming onto the market and the two prices were arrived at independently. Both would have used the HMS Spartiate flag's previous auction price, nearly £400,000 in 2009, as a guide. At the fair opening last week, offers were made for the Royal Sovereign flag but none accepted. That may change before the fair closes, depending on what happens at Christie's this afternoon. The Bristol Museum crowdfunds to buy a rediscovered Turner Museums don't usually telegraph their intentions to bid at auction publicly, but tomorrow, the Bristol Museum & Art Gallery will be bidding at Sotheby's for a rediscovered JMW Turner painting which depicts the Avon Gorge before the Clifton Suspension Bridge was built. Not only is it of local interest, The Rising Squall, Hot Wells, from St Vincent's Rock, Bristol, painted when he was just 17, was the first painting Turner ever exhibited at the Royal Academy, in 1793. Had they spotted it last year at a provincial auction where its authorship was unknown, the museum might have bought it for £525. But the buyer took it to be cleaned and discovered a signature under the grime. Now valued beyond the museum's budget at £200,000-300,000, it has launched a public appeal to raise funds through the crowdfunding process in which individuals and companies can contribute directly online. Within five days the crowdfund had raised over £100,000. Now it's a matter of whether competitive bidders will hold off and allow the museum to be successful.
Scotsman
14-06-2025
- Entertainment
- Scotsman
I fell down a rabbit hole of calm amid the chaos of London
I fell down a rabbit hole of artistic calm amid the chaos of London, reports Louisa Gregson Sign up to our daily newsletter – Regular news stories and round-ups from around Scotland direct to your inbox Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... It's not uncommon for a Modern Art gallery visit to divide opinion. Some people adore them, others are bored, complacent or even intimidated. Personally, I find contemporary art studios super soothing - the absence of traffic, the hush, the clean lines, the minimalism and the beautiful pieces of art - it feels like checking out of the chaos and stress of life by simply walking off the street, through a door and into an oasis of still and calm - a bit like Alice falling down a rabbit hole into Wonderland but with a much easier entrance and a much calmer (if just as curious) destination. Advertisement Hide Ad Advertisement Hide Ad Contemporary art galleries feel to me like peaceful sanctuaries that soothe my soul - and none so much as when I stepped into Moco art gallery in Marble Arch, London. 'Moco' stands for 'modern contemporary', and when you find yourself looking at artwork by Robbie Williams - yes, that Robbie Williams, it seems perfectly apt. The vast three floor space offers up a veritable adult sweet shop of candy colours, pretty pink blossoms, electric neon signs and shiny immersive installations. Modern pieces, contemporary sculptures, and digital art blend together with stunning pieces by Damien Hirst, Banksy, Andy Warhol, and the aforementioned Robbie Williams, as well as pieces by Jeff Koons, Marina Abramovic, Yayoi Kusama and many more. Moco has made the new museum in London their flagship location, so as well as the exhibition spaces, the art museum also offers up a lovely (if a little pricey in my opinion) Moco Store, and there is an exciting variety of creative events and activities. It was a memorable visit as part of a one night stay in the Radisson Blu Hotel in Leicester Square as part of a trip where I was invited to 'explore the best of London.' After soaking up the art in MOCO we headed to for afternoon tea. There is something so irresistible about the civilised indulgence of dainty, pastel coloured china, tiny sandwiches and pretty cakes all taken in lovely, tranquil surroundings. Afternoon tea at Bond Street Radisson Blu offers a twist on the classic, traditional afternoon tea. There are contemporary details with classic wood-panelled interiors and guests start with a selection of hot dish starters, followed by a choice of finger classic sandwiches, freshly baked scones (with jam and cream of course!) and dainty yet decadent desserts. Advertisement Hide Ad Advertisement Hide Ad Afternoon tea | Afternoon tea Dinner that evening was in the hotel's restaurant Leicester Square Kitchen, where we Indulged in contemporary Mexican and Peruvian cuisine - beautifully cooked spicy small plates accompanied with an impressive cocktail menu in ultra chic surroundings. My hazelnut sour - recommended by the lovely waiter was an absolute treat. The menu is extensive and exciting. Soft Mexican Tacos offer such tasty fillings as crispy Baja fish, cabbage slaw and habanero mayonnaise, dry-rubbed short rib and smoked chilli mayonnaise, chilli lime vegetarian chicken, baby pulled pork and apple mayonnaise. The Peruvian menu offers such delights as chicken tacos, jalapeno and truffle mayonnaise, shredded crab and avocado tostada with chili garlic mayonnaise, vegetable hard taco with tomato salsa. Drinks were later taken upstairs in the penthouse suite with breathtaking views overlooking the iconic London skyline. Sipping champagne while watching darkness descend on London's most famous landmarks finished the evening off in true city style. The next day after strolling through the vibrant streets of London in glorious sunshine I visited another art gallery - this time not quite so modern. We visited The Wallace Collection - a national museum housing masterpieces of painting, sculpture, furniture, arms and armour, and porcelain. Advertisement Hide Ad Advertisement Hide Ad The Wallace Collection was built over the 18th and 19th centuries by the Marquesses of Hertford and Sir Richard Wallace, it is one of the finest and most celebrated collections in the world. Moco museum | Radisson There was just time afterwards to visit Bloomsbury Street Kitchen on the ground floor of Radisson Blu Hotel, Bloomsbury for a mouth watering power hour lunch menu of Mediterranean and Japanese dishes. The restaurant itself is beautifully chic - exposed brick works alongside Italian glazed porcelain tiles with lots of lush foliage - think Japanese Sago palms, Mediterranean olive trees and clusters of terracotta pots - making for an inspiring setting. The food was top-notch and felt perfect for a quick, affordable lunch that eases a little luxury into your day.
