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A pair of new exhibitions at the Gibsons Public Art Gallery invites visitors to peer through history using radically different perspectives. 

In Tam Harrington’s Fashion, a Complex Relationship, ornate garments fashioned from repurposed metal and plastics stand ready to adorn women from ancient Egypt, medieval Europe, and Havana night clubs.  

Within the colourful frames of Strata, arrayed in the Eve Smart Gallery, acrylic and glass shaped by Linda Suffidy depict the seductively grooved contours of deep time. 

Both artists met with members of the public during an opening reception on Feb. 17. Attendees stood among the mannequins adorned by Harrington, punctuating its parade of feminine power. Each piece by the Gibsons-based artist and educator is inspired by a period or woman who influenced her creative journey. 

“Clothing can be about progressive change or it can be about holding women back,” said Harrington. “That’s why so many of the things that have hoops are like cages, keeping the woman inside.” Harrington’s regalia for Queen Elizabeth I includes a hooped petticoat (known as a farthingale) that defines a boundary around the regent while pinpointing her as a centre of attention. Its high ruff collar is made from intricately joined strips of metal splayed from the neckline, simultaneously exalting and protecting. 

The association of Harrington’s wearable art with armour is unmistakable, whether in its three-dimensional realization or in her ink drawings accentuated by acrylic paint. The Ten Commandments Bra & Venus Flytrap Thong exudes seductive allure alloyed with adamantine brawn. 

Her assemblage Mur de Fluer evokes the practice that arose in 12th-century China for embroidering clothing with flowers and scenes of nature. But there are no shrinking violets in Harrington’s sculpture: leaves and petals are realized as gleaming flanges and tines. Her Bra for Breast Cancer Awareness is a barbed bandeau that

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In Singapore, where graffiti is banned, young creatives have taken over an abandoned mall, spray painting colourful murals and holding art workshops to bring the space back to life.

Around half a century old, Peace Centre is scheduled to face the wrecking ball later this year, but fans say it has provided a rare space for self- expression.

Permission from authorities is required for any kind of street art in the Southeast Asian country.

In August last year, PlayPan, an initiative co-founded by entrepreneur Gary Hong, convinced developers to postpone the mall’s demolition.

The answer the initiative’s backers received was that they could go ahead and use the space for “a social experiment to bring (the) community together”, Hong told AFP.

They were given the space to host performances and workshops for several months, allowing artists, students, charities and small businesses to set up shop for free or at heavily discounted rates.

The eclectic mix of pop-up stores, art tours and musical performances has transformed the once lacklustre mall into an unexpected art haven.

At the end of January, however, the mall will close definitively, bringing an end to the art project.

Peace Centre was once a popular mall but lost its shine to glitzier shopping centres that mushroomed over recent years.

In the last two decades it was mostly known for its printing shops and seedy karaoke lounges.

Since its revamp into an art space, young people have attended graffiti workshops, colouring shuttered shopfronts with spray cans while punters browsed through second-hand clothing stalls and exhibits.

“It’s not something you do on a normal weekend, less so inside an indoor area, in a mall,” said Darryl Poh, a 29-year-old sales trader who took part in a spray-painting workshop.

‘Very organic’

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As schoolchildren, we often sketched an idealized depiction of country life with square houses with thatched roofs surrounded by a rice field and several coconut trees. The sun was always shining or peeking behind perfectly placed mountains, and the family unit consisted of mom, dad and kids.

Photo shows (from left) Visions of Sereni3 artists Joel Janer, Eliezer Dimaculangan and Gabz Mendiola Jr.; Mother and Child by Gabz Mendiola Jr.; Silent Sanctuary by Eliezer Dimaculangan; Balik Tanaw (series 6) by Joel Janer

There’s a sense of that uncanny perfection in the oil paintings of three San Mateo-based artists featured in the ongoing ARTablado group exhibit at Robinsons Antipolo (upper ground floor, main mall).

Eliezer Dimaculangan, Gabz Mendiola and Joel Janer have been painting for years, participating in numerous group shows as well as having the spotlight trained on them in their respective solo shows.

Dimaculangan is a visual artist specializing in landscape paintings and is partial to a vibrant palette with a touch of the abstract. His paintings are a mix of the natural and the manmade—mountains, oceans and waterfalls, white doves and playful fish but also ancient stone archways, mossy stairs and glazed earthenware jugs.

Unlike Dimaculangan, Gabriel “Gabz” Mendiola prefers muted colors when he paints. A former ceramic artist and businessman, he returned to his first love, painting. Mendiola has since joined a number of group shows organized by the San Mateo Artists Guild where he got to meet art patrons and supporters.

His paintings share a distinct provincial vibe and often feature female protagonists: women washing clothes in a stream, and a couple of Madonna and Child paintings. Mendiola is open to experimenting as seen in the mother and child pieces where one pair is painted in a two-dimensional style while a second is more realistic and

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Being the first to step on uncharted territory is never easy, but one can create history with the endeavour. MGM x RR1 Culinary Masters Macau was a highly anticipated affair, and the multi-day event exceeded expectations thanks to a star-studded line-up of chefs, fabulous guests, and a diverse event programme.

New people, different backgrounds, and site unseen—the first night of Culinary Masters had all the semblances of a first date. A welcome reception to break the ice was the need of the hour as guests, chefs, and their entourages arrived at MGM COTAI for a cocktail reception and gourmet buffet.

Stellar libations and finger foods eased everyone into introductions and conversation—there was much to talk about as the guests looked forward to multiple days of culinary, artistic, and cultural activities. Many quickly forged friendships, courtesy of champagne diplomacy.

Over the course of Culinary Masters, the days began with the ease and natural elegance of tai chi master Li Fai, the four-time wushu world champion, who directed early risers with a body- and soul-awakening session by the pool.

A fiery culinary exercise took place in the kitchens of one-Michelin-starred Five Foot Road as Yang Dengquan led classes on how to make gourmet Sichuan chilli sauce, enlightening keen home cooks on the flavour profiles of heat and spice.

In another floor and corner of MGM COTAI, Shane Osborn of Arcane led the first of many classes in the open kitchen of Grill 58. Vegetarian cappelletti was made from scratch, pasta was artfully plated, and the participants ate their creations heartily with glasses of champagne to round it up.

Many things stood out in memory, among them Osborn helming a cooking class with some of the children of the attending guests—each little one provided with a mini apron with “Culinary Master” embedded into

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Victorine: The Artist’s Model unravels a woman’s internal thoughts as she moves from Dublin to Paris, driven by a desire to explore and escape. Acted by Jasmin Gleeson and written by Joshua King, it is a delightful performance. This one-woman show paints a vivid portrait of Victorine, a witty, dry and inquisitive persona who captives the audience with her eloquent language and sharp observations. 

The piece plays with different gazes and perceptions – those of the artist, the critic, and the male spectator. Seamlessly interwoven, these perspectives highlight the fallibility of different viewpoints of art and its processes of creation. In fifty minutes, Gleeson masterfully dissects notions of artistic representation, whilst simultaneously critiquing the critics; this is all orchestrated in a refreshingly unpretentious and comedic fashion.

By using simple and effective props, Victorine is transformed, allowing her to switch between various characters. The paintbrush and glass of wine become conduits for the diverse personas she embodies. The portrayal infuses depth through the nuanced mannerisms and vocal inflections found in each of the characters. One of Victorine‘s strongest elements is its scripting, playing with colours and moods to create an atmosphere of intrigue, and enabling the audience to visualize the world through Victorine’s own gaze, adding a subtle layer to the narrative. 

Throughout the piece, Victorine has a mischievous sparkle which adds humour to a period of history that is often portrayed as a dark era. Her transformation from an ‘ordinary subject’ of art to wielding the paintbrush herself portrays a journey of self-discovery and empowerment. Overall, this is a show which beckons the audience to peer beyond the canvas, igniting a passion for art without taking oneself too seriously, all while embracing a multifaceted perspective on existence.

Victorine: The Artist’s Model, Greenside @ Riddles Court (Willow Studio), until

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Museum officials have consulted on the project with the leaders of the four bands of the state-recognized Abenaki tribes in Vermont.

A jar made in 1865 in the Zuni Pueblo is displayed at the Shelburne Museum.
A jar made in 1865 in the Zuni Pueblo is displayed at the Shelburne Museum in Shelburne, Vt., Friday, June 21, 2023. AP Photo/Lisa Rathke

SHELBURNE, Vt. (AP) — A Vermont museum has acquired a more than 200-piece collection of Native American art and is planning to construct a $12.6 million facility to house the pieces that make up a rare national collection in the Northeast.

The collection donated to the Shelburne Museum is comprised of late 19th and early 20th century pottery, beadwork, clothing and weavings predominantly from Plains and Southwest communities, and combined with its existing Native American collection represents nearly 80 tribes, the museum said.

“Together, the two collections are over 500 items and that’s a center of gravity, which is fairly important for northern New England,” said museum director and CEO Thomas Denenberg.

The 9,750-square-foot (906-square-meter) building — called the Perry Center for Native American Art — will be designed by Adjaye Associates, an internationally known firm that designed the Smithsonian National Museum of African American History and Culture in Washington, D.C. The building is slated to open in the spring of 2026 and “planned to be a highly sustainable pavilion designed to support the culturally appropriate interpretation and care of Indigenous material culture,” the museum said in a statement.

Museum officials have consulted on the project with the leaders of the four bands of the state-recognized Abenaki tribes in Vermont.

“The museum’s collaborative approach to stewardship of the Native American collection and construction of the Perry Center for Native American Art is commendable,” Don Stevens, chief of the Nulhegan Band of the Coosuk Abenaki Nation,

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Kim Jones, one of the brightest names in menswear today, has teamed up with cognac giant Hennessy for a collaboration that fuses fashion and luxury, resulting in a stylish take on spirits. This collaboration between Hennessy X.O and Dior’s artistic director has yielded a limited-edition aluminium gold bottle holder, a decanter that features beautiful degrade detailing—mirroring past collections by the English designer—and a chic pair of brown-toned sneakers.

Here in Malaysia, Hennessy X.O has similarly selected a series of personalities who portray the same streak of style and fashion nous. In entrepreneur Huan Ooi, the look that he goes for is best described as that of an iconoclast, to always aim for uniqueness rather than being a slave to trends. “I see style inspiration wherever I go, in everyday, ordinary life,” he says, pointing out that he recently observed how the uniforms of Japanese ramen chef are quite unique and adds a genuine point of difference in one’s ensemble.

For Ooi, the Kim Jones-designed limited-edition aluminium gold Hennessy X.O holder may be appreciated like a an elegant silk dress, holding mysteries within the ensconced bottle of cognac. The appreciation of a glass of Hennessy X.O entails drinking with company, he shares. “I’m exceptionally uncomfortable being by myself, plus good things should be shared!” Here, Ooi reflects on the gamut of his formative experiences, his preferences and how he discerns his idea of happiness.

Personal dressing rituals and preferences
I don’t like exaggeration or embellishment in my wardrobe. I prefer clothes that are versatile, singular and definitely nothing boring. The look and way of dressing I portray today is something I’ve cultivated since my high school days. It was really an attempt to stand out from the crowd.

Best style advice
Definitely Juno Mak (Hong Kong singer, producer, actor and

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