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Jade van der Mark’s new work highlights transformation of city life in the face of the Covid-19 pandemic
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Jade van der Mark’s new work highlights transformation of city life in the face of the Covid-19 pandemic

Exhibition Jade van der Mark will exhibit a new body of work in a solo show in London in December, which explores contemporary society, both before and after the coronavirus pandemic, and examines the dichotomy of crowds and human intimacy.     Dutch painter van der Mark, now based in London, uses cities and crowds as a source of inspiration, sketching in the heart of the capital and documenting the vibrancy of urban life. Her large-scale portraits of cities’ inhabitants highlight issues of overpopulation, isolation, greed and oppression, while through colourful and lively figures her works remind us of our shared humanity. Playful but profound, her paintings make the mundane vibrant and beautiful, with an edge of melancholia.     Thick coats of oil paint give life to monumental textured canvases, rich in detail and complexity and majestic in size. The use of bold and abstracted colour palettes conveys a sense of sculptural depth, amplifying their gravitas. As each layer may take up to a week to dry, van der Mark’s paintings are the result of a laboured process lasting up to eight months. Containing multiple stories, which over the course of completion have been altered or painted over, her works unveil hidden narratives that encourage deeper reflection.       Diving into diverse identities, van der Mark reveals a vast network of personal stories that share the same spaces but lack connection. Colourful figures are representative of the artist’s belief in a shared humanity.      Set in decontextualized city spaces, van der Mark’s paintings speak to an overwhelming sense of disconnect that resonates globally. Works created in early 2020 depict crowded scenes, where figures are frozen in the chaos of rush hour, their stress and exhaustion evident in their expressions.      We’re All Human, for example, presents a densely populated crowd sprawling across a wide canvas, measuring over four meters in length and almost three in height. What seem like hundreds of city dwellers, distinguished through lively clothing and colourful faces, move across all directions. With almost no negative spaces between them, individuals remain fully engrossed in their own worlds, often shielded by phones, headphones and masks.     Works created during the 2020 lockdown, instead turn to empty spaces, the absence of crowds, and the disconnect that arises as a result of social distancing. Others recount a society in lockdown, with surreal depictions of supermarket queues, and voyeuristic views of figures isolating inside apartments. The works juxtapose with those created pre lockdown, forcing viewers to reflect on how significantly city life has changed, and asking them not to recall the chaos with rose tinted glasses.      Works such as Judgementand Greedare influenced by the artist’s fashion background, and depict the materialism, and harsh elitism of the fashion world. The figures in Greed queue frantically to get into a large Louis Vuitton store, while Judgementtransports viewers to the front row of a catwalk, where haughty influencers and celebrities scrutinise parading models.      The attention to texture is crucial to van der Mark’s practice as a whole, which combines a passion of painting with an education in Fashion, obtained at the Royal Academy of Arts in The Hague. A self-taught weaver, she weaves her paintings into elaborate and distinctive items of clothing, works of art in and of themselves. During Milan Fashion Week 2016 she was awarded the Dutch Fashion Award for her exceptional designs.     One of the most exciting young artists to come out of the Dutch art scene, van der Mark was born in the town of Bergen, often regarded as an artists’ town due of its remarkable natural light. Home to the Bergen School of painters in the early 20thcentury, Bergen has been referred to as the birthplace of Dutch expressionism.      Van der Mark spent lockdown at her home in Amsterdam, and feels the coronavirus pandemic has forced us all to slow down, in a way that was highly necessary in our fast paced society. Used to painting in isolation, she has used this time to reflect on the way the virus has simultaneously bought society closer by affecting everyone, but also torn us apart as a result of social distancing.     Van der Mark comments,  “Whilst lockdown has forced us into physical isolation, we had all become more isolated in modern society. Moving around the world, and in cities such as Amsterdam and London, I’ve noticed that no matter the size of the crowd, people still seem, and are, isolated. Lockdown has highlighted this, but it’s also given us the gift of realising the loss of our connection to each other. I hope my paintings remind the viewer of this, whether in a crowd or alone, that we do have a connection, and it vital for us all to remember and nurture this connection.”     Van der Mark has showcased her work widely in the Netherlands and internationally, exhibiting in Amsterdam, Brussels, London, Dubai and Milan. These include a 2018 solo show at ING Headquarters in Amsterdam and participation in Salone Mobile Design Week in Milan in 2016.     Jade Van der Mark’s solo show will open in London in December 2020.      www.jadevandermark.com Jade van der Mark will exhibit a new body of work in a solo show in London in December, which explores contemporary society, both before and after the coronavirus pandemic, and examines the dichotomy of crowds and human intimacy.     Dutch painter van der Mark, now based in London, uses cities and crowds as a source of inspiration, sketching in the heart of the capital and documenting the vibrancy of urban life. Her large-scale portraits of cities’ inhabitants highlight issues of overpopulation, isolation, greed and oppression, while through colourful and lively figures her works remind us of our shared humanity. Playful but profound, her paintings make the mundane vibrant and beautiful, with an edge of melancholia.     Thick coats of oil paint give life to monumental textured canvases, rich in detail and complexity and majestic in size. The use of bold and abstracted colour palettes conveys a sense of sculptural depth, amplifying their gravitas. As each layer may take up to a week to dry, van der Mark’s paintings are the result of a laboured process lasting up to eight months. Containing multiple stories, which over the course of completion have been altered or painted over, her works unveil hidden narratives that encourage deeper reflection.       Diving into diverse identities, van der Mark reveals a vast network of personal stories that share the same spaces but lack connection. Colourful figures are representative of the artist’s belief in a shared humanity.      Set in decontextualized city spaces, van der Mark’s paintings speak to an overwhelming sense of disconnect that resonates globally. Works created in early 2020 depict crowded scenes, where figures are frozen in the chaos of rush hour, their stress and exhaustion evident in their expressions.      We’re All Human, for example, presents a densely populated crowd sprawling across a wide canvas, measuring over four meters in length and almost three in height. What seem like hundreds of city dwellers, distinguished through lively clothing and colourful faces, move across all directions. With almost no negative spaces between them, individuals remain fully engrossed in their own worlds, often shielded by phones, headphones and masks.     Works created during the 2020 lockdown, instead turn to empty spaces, the absence of crowds, and the disconnect that arises as a result of social distancing. Others recount a society in lockdown, with surreal depictions of supermarket queues, and voyeuristic views of figures isolating inside apartments. The works juxtapose with those created pre lockdown, forcing viewers to reflect on how significantly city life has changed, and asking them not to recall the chaos with rose tinted glasses.      Works such as Judgementand Greedare influenced by the artist’s fashion background, and depict the materialism, and harsh elitism of the fashion world. The figures in Greed queue frantically to get into a large Louis Vuitton store, while Judgementtransports viewers to the front row of a catwalk, where haughty influencers and celebrities scrutinise parading models.      The attention to texture is crucial to van der Mark’s practice as a whole, which combines a passion of painting with an education in Fashion, obtained at the Royal Academy of Arts in The Hague. A self-taught weaver, she weaves her paintings into elaborate and distinctive items of clothing, works of art in and of themselves. During Milan Fashion Week 2016 she was awarded the Dutch Fashion Award for her exceptional designs.     One of the most exciting young artists to come out of the Dutch art scene, van der Mark was born in the town of Bergen, often regarded as an artists’ town due of its remarkable natural light. Home to the Bergen School of painters in the early 20thcentury, Bergen has been referred to as the birthplace of Dutch expressionism.      Van der Mark spent lockdown at her home in Amsterdam, and feels the coronavirus pandemic has forced us all to slow down, in a way that was highly necessary in our fast paced society. Used to painting in isolation, she has used this time to reflect on the way the virus has simultaneously bought society closer by affecting everyone, but also torn us apart as a result of social distancing.     Van der Mark comments,  “Whilst lockdown has forced us into physical isolation, we had all become more isolated in modern society. Moving around the world, and in cities such as Amsterdam and London, I’ve noticed that no matter the size of the crowd, people still seem, and are, isolated. Lockdown has highlighted this, but it’s also given us the gift of realising the loss of our connection to each other. I hope my paintings remind the viewer of this, whether in a crowd or alone, that we do have a connection, and it vital for us all to remember and nurture this connection.”     Van der Mark has showcased her work widely in the Netherlands and internationally, exhibiting in Amsterdam, Brussels, London, Dubai and Milan. These include a 2018 solo show at ING Headquarters in Amsterdam and participation in Salone Mobile Design Week in Milan in 2016.     Jade Van der Mark’s solo show will open in London in December 2020.      www.jadevandermark.com

‘Tales’ van Bosch
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‘Tales’ van Bosch

Music As an earnest, toothy twelve-year-old, Zanna van Vorstenbosch was runner-up in the Junior Eurovision Song Contest. Twelve years later, working as van Bosch, the Dutch model-turned-sea- siren returns to her founding passion with her forthcoming debut LP, Speed of Wood (2021).     Watch the video here: https://www.youtube.com/watch?v=Xu9fZfu5BQU     Having glided like an unbothered sylph through a New York City most can only imagine, she stayed gold, never forgot herself. “Modeling opened the world to me,” she writes, “but music secures a space in it.” From her vantage at photo shoots she saw something all around her:   “The need to prove that we are successful in a material way,” she writes, was “prioritized without balance (both a balance within ourselves and with the world outside ourselves) and without attention to how to deal with mental health, relationships, stress, or how to dream, or how to love.” The protective barricade of wealth also forbade entrance to beautiful risk and hard truth— while letting slip through the paranoia and bloated self-regard which flourish when too few people are brave enough to tell us the truth.   So she wrote this song about it. “Count your prey, play your games,” she begins, “so much to prove, so little to gain.”     Interesting piano work, excellent drumming, well-wrought song structure, and the haunted wind of Old-World witchery all support a majestic vocal performance. (Wait for it.) And if, as you listen, you begin to think of Nico, Anika, or PJ Harvey, you’re not entirely right, but you’re not entirely wrong.     If “Tales,” as a song, is an indemnification of status without stature, money without meaning, and the loneliness of empty achievement, the video, Zanna says, is a ritual attempt to heal them, to bring them into a shadow-place free of arrogance, free of sight, free of the safe, overdetermined meanings toward which we strive: A Holy Virgin sits forbidding in theatre eyebrows behind an open veil, awaiting the return of her prodigals. Tears spill through a suffocating shroud. What is the difference between protection and imprisonment?     A woman sings directly into (or maybe under) dark water. Her wail ripples through it, elocuting the abyss beneath all she denounces, all she means to save, and she does not drown. What does it mean to sing lyrics against words? “The moment that you have your mind made up, the moment that you think it’s a certain way,” Zanna writes, “you lose that beauty. You can’t put your words on it, you can’t put your fingers on it. The moment that it’s in between, that’s where you can start to understand, that’s where you get fulfilled.”     “If you want to find some meaning to life” she sings, “don’t be too proud to say you know you’re blind.”     - Written by Alan Bajandas As an earnest, toothy twelve-year-old, Zanna van Vorstenbosch was runner-up in the Junior Eurovision Song Contest. Twelve years later, working as van Bosch, the Dutch model-turned-sea- siren returns to her founding passion with her forthcoming debut LP, Speed of Wood (2021).     Watch the video here: https://www.youtube.com/watch?v=Xu9fZfu5BQU     Having glided like an unbothered sylph through a New York City most can only imagine, she stayed gold, never forgot herself. “Modeling opened the world to me,” she writes, “but music secures a space in it.” From her vantage at photo shoots she saw something all around her:   “The need to prove that we are successful in a material way,” she writes, was “prioritized without balance (both a balance within ourselves and with the world outside ourselves) and without attention to how to deal with mental health, relationships, stress, or how to dream, or how to love.” The protective barricade of wealth also forbade entrance to beautiful risk and hard truth— while letting slip through the paranoia and bloated self-regard which flourish when too few people are brave enough to tell us the truth.   So she wrote this song about it. “Count your prey, play your games,” she begins, “so much to prove, so little to gain.”     Interesting piano work, excellent drumming, well-wrought song structure, and the haunted wind of Old-World witchery all support a majestic vocal performance. (Wait for it.) And if, as you listen, you begin to think of Nico, Anika, or PJ Harvey, you’re not entirely right, but you’re not entirely wrong.     If “Tales,” as a song, is an indemnification of status without stature, money without meaning, and the loneliness of empty achievement, the video, Zanna says, is a ritual attempt to heal them, to bring them into a shadow-place free of arrogance, free of sight, free of the safe, overdetermined meanings toward which we strive: A Holy Virgin sits forbidding in theatre eyebrows behind an open veil, awaiting the return of her prodigals. Tears spill through a suffocating shroud. What is the difference between protection and imprisonment?     A woman sings directly into (or maybe under) dark water. Her wail ripples through it, elocuting the abyss beneath all she denounces, all she means to save, and she does not drown. What does it mean to sing lyrics against words? “The moment that you have your mind made up, the moment that you think it’s a certain way,” Zanna writes, “you lose that beauty. You can’t put your words on it, you can’t put your fingers on it. The moment that it’s in between, that’s where you can start to understand, that’s where you get fulfilled.”     “If you want to find some meaning to life” she sings, “don’t be too proud to say you know you’re blind.”     - Written by Alan Bajandas

Reflex Amsterdam is delighted to present a set of recent works by Daniel Firman
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Reflex Amsterdam is delighted to present a set of recent works by Daniel Firman

Art Reflex Amsterdam is delighted to present a set of recent works by Daniel Firman. All sculptures in the exhibition Switch Up revolve around the idea of the body and the object: the body with the object; the body without an object; the object without the body. The exhibition is constructed like a crossfade where each sculpture becomes like a planar surface on which movement from one work to another is activated.      Attitude and Gathering, two of the most important series of works from the artist, in conjunction with a third more recent one, Plastic Confetti, give this show all the dimensions of an extremely contemporary vision of our world.      Daniel Firman: "The Switch Up exhibition shows a compendium of decisions where identity is erased in favor of a globalization of information where, more broadly, object and matter end up taking their own authority and lasting autonomy. It would seem that the indecision to do with or without defines us today in a world that is constantly changing, in this contemporary intoxication of stop and go."     Firman nevertheless refers to the constructions of a work whose heritage is made from gesture, molding, nesting and collage. Impacted and overwhelmed, the works by the artist seem to give us a realistic vision, with quirky and joyful humour, of a 'chaotic' world. It gives a vision of resistance orchestrated like dance movements where the bodies perform in order to irreversibly avoid a slippage, a collapse.      Switch Up is Firman’s first solo exhibition in The Netherlands and the artist’s first show with the gallery. In close collaboration with the artist the gallery is publishing a book, including all work from the last six years, as well as the latest works included in the exhibition. Opening, reception and book signing with time slots will be announced as soon as situation allows.       Daniel Firman (1966) is a French artist working in both Bordeaux and New York. His work has been exhibited, amongst others, at: Palais de Tokyo, Paris, France (2008), Venice Biennial, Venice, Italy (2009), Kunsthalle Wien, Austria (2012), National Gallery of Australia (2017), Ceysson & Bénétière Gallery, New York, USA (2019) and Reflex Amsterdam (2020).      www.reflexamsterdam.com Reflex Amsterdam is delighted to present a set of recent works by Daniel Firman. All sculptures in the exhibition Switch Up revolve around the idea of the body and the object: the body with the object; the body without an object; the object without the body. The exhibition is constructed like a crossfade where each sculpture becomes like a planar surface on which movement from one work to another is activated.      Attitude and Gathering, two of the most important series of works from the artist, in conjunction with a third more recent one, Plastic Confetti, give this show all the dimensions of an extremely contemporary vision of our world.      Daniel Firman: "The Switch Up exhibition shows a compendium of decisions where identity is erased in favor of a globalization of information where, more broadly, object and matter end up taking their own authority and lasting autonomy. It would seem that the indecision to do with or without defines us today in a world that is constantly changing, in this contemporary intoxication of stop and go."     Firman nevertheless refers to the constructions of a work whose heritage is made from gesture, molding, nesting and collage. Impacted and overwhelmed, the works by the artist seem to give us a realistic vision, with quirky and joyful humour, of a 'chaotic' world. It gives a vision of resistance orchestrated like dance movements where the bodies perform in order to irreversibly avoid a slippage, a collapse.      Switch Up is Firman’s first solo exhibition in The Netherlands and the artist’s first show with the gallery. In close collaboration with the artist the gallery is publishing a book, including all work from the last six years, as well as the latest works included in the exhibition. Opening, reception and book signing with time slots will be announced as soon as situation allows.       Daniel Firman (1966) is a French artist working in both Bordeaux and New York. His work has been exhibited, amongst others, at: Palais de Tokyo, Paris, France (2008), Venice Biennial, Venice, Italy (2009), Kunsthalle Wien, Austria (2012), National Gallery of Australia (2017), Ceysson & Bénétière Gallery, New York, USA (2019) and Reflex Amsterdam (2020).      www.reflexamsterdam.com

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Antony Micallef Presents His Latest Artwork At Hong Kong Spotlight by Art Basel
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Antony Micallef Presents His Latest Artwork At Hong Kong Spotlight by Art Basel

Art Antony Micallef is known is described as a modern Expressionist, and he's widely recognized as one of the finest painters in contemporary art today, Micallef roots his work in social commentary and self-examination. Known for his visually charged figure paintings, Micallef's latest body of work, Constructing Auras is being shown at Hong Kong Spotlight by Art Basel, opening today.     We see a continuation of the artist’s last exhibition, entitled Raw Intent from 2016. Here, he built up a relief-like surface with heavy paint to depict a figurative mass in front of a muted background. Utilizing an impasto technique, the material is pushed to its extreme and blurs our reading of painting and sculpture. Through the use of tools such as scrapers and palette knives, Micallef twists the paint to further distort the depicted figure in the hope of realizing an embodiment that will "breathe" on its own.   “I want my forms to encompass a sense of life. This body of work is all about the materials used and the palpable essence of the material depicting a sense of being. All the things I was interested in and influenced by that I never thought I could incorporate into my art have amalgamated into this body of work like one big mixing pot." Antony Micallef   Evolving on from this, Constructing Auras, which consists of 14 works, highlights the close relationship between the creator and the object and the co-dependence between these two entities. There's a fusion of forms that manifested itself through the artist’s meticulous studies of forms from nature, drawing inferences from a wide range of disciplines from paleontology to couture textile, influenced by forms of nature, the early works of Alexander McQueen, as well as the V&A's Fashioned From Nature exhibition. This also brought about a new technique that saw Micallef apply layers of paint - much of which was recycled from the walls of his studio - as if they were a textile. The result? Compelling sculptural paintings that resonate with us all.     Constructing Auras, will run from 27 - 30 November 2020 at Hong Kong Spotlight by Art Basel. See more at artbasel.com/hkspotlight/overview Antony Micallef is known is described as a modern Expressionist, and he's widely recognized as one of the finest painters in contemporary art today, Micallef roots his work in social commentary and self-examination. Known for his visually charged figure paintings, Micallef's latest body of work, Constructing Auras is being shown at Hong Kong Spotlight by Art Basel, opening today.     We see a continuation of the artist’s last exhibition, entitled Raw Intent from 2016. Here, he built up a relief-like surface with heavy paint to depict a figurative mass in front of a muted background. Utilizing an impasto technique, the material is pushed to its extreme and blurs our reading of painting and sculpture. Through the use of tools such as scrapers and palette knives, Micallef twists the paint to further distort the depicted figure in the hope of realizing an embodiment that will "breathe" on its own.   “I want my forms to encompass a sense of life. This body of work is all about the materials used and the palpable essence of the material depicting a sense of being. All the things I was interested in and influenced by that I never thought I could incorporate into my art have amalgamated into this body of work like one big mixing pot." Antony Micallef   Evolving on from this, Constructing Auras, which consists of 14 works, highlights the close relationship between the creator and the object and the co-dependence between these two entities. There's a fusion of forms that manifested itself through the artist’s meticulous studies of forms from nature, drawing inferences from a wide range of disciplines from paleontology to couture textile, influenced by forms of nature, the early works of Alexander McQueen, as well as the V&A's Fashioned From Nature exhibition. This also brought about a new technique that saw Micallef apply layers of paint - much of which was recycled from the walls of his studio - as if they were a textile. The result? Compelling sculptural paintings that resonate with us all.     Constructing Auras, will run from 27 - 30 November 2020 at Hong Kong Spotlight by Art Basel. See more at artbasel.com/hkspotlight/overview

FENDI - Featuring Sarah Coleman
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FENDI - Featuring Sarah Coleman

Accessories FENDI has commissioned the New York based artist Sarah Coleman to reinterpret the Miami Design District FENDI Boutique and create a series of one of a kind design pieces.     For almost a century FENDI has been committed to redefining luxury through the development of new materials and techniques.  From its foundation, and through Silvia Venturini Fendi’s vision today, the Roman Luxury House has been pushing traditional methodologies and handcraft in new directions.  Inspired by FENDI’s tradition of breaking down barriers of exclusivity and luxury, the artist felt empowered to invent and reimagine.  The result feels retro and classic but also entirely new, inspired by the spirit of the 1970s.     The concept created for Design Miami/ is centered around Coleman’s design ethos of repurposing and FENDI’s DNA.  The theme takes a literal approach at times, leveraging fabrics from FENDI’s handbags to reupholster furniture in bold mixed logo prints, or printing FENDI archival imagery onto vintage magazine paper to collage a chair.  The repurposing often applies in ways that are less physical and more metaphorical. FENDI’s iconic prints are warped and manipulated in FaceTune, an app usually used for Instagram editing, but instead used to create art.  FENDI’s iconic FF and Pequin logos are reinterpreted by Sarah with a vertigo effect. This printed design will appear on the façade of the FENDI Miami Boutique, as well as on a series of limited-edition Peekaboo handbags.     In collaboration with the artist, a special limited edition of 3 styles of FENDI’s iconic Peekaboo ISeeU bags designed by Silvia Venturini Fendi will launch exclusively at the FENDI Miami Design District Boutique in late November 2020.  The limited edition FENDI Artist Peekaboo will be available in an iconic FENDI yellow with FF embossed design, a white nappa leather with phosphorescent FF beads and embroidery for a glow in the dark effect, and in a canvas body with multicolor FF thread embroidery.     In addition, Sarah has reinterpreted a one of a kind piece of the Designer’s Peekaboo bag in white canvas, transforming it into a multicolored style in plaster and acrylic paint, with FFs cut from suede, glazed with resin. The bold colors of the piece are inspired by the vibrant arts scene in Miami, as well as whimsical toys from the artist’s childhood.     Following tradition and celebrating FENDI’s longstanding relationship with Design Miami/, the boutique will be dressed up for the occasion with a special façade in a concept created by the artist, with the vertigo Pequin FENDI logo in the iconic Maison’s yellow colour.   In addition to the iconic handbags, the artist has created a series of design pieces to be displayed in the Miami boutique during Design Miami/.  Reupholstery using vintage designer bags is one of the artist’s main mediums, which inspired a cushion reupholstered using coated canvas from 1980s FENDI beach bag.   Additional pieces include a vintage rattan peacock chair, refinished in yellow acrylic paint and plaster by the artist, and an acrylic zigzag chair, covered in collage of vintage books and magazines, printed with FENDI archival images, and mixed with warped prints designed by the artist.  This piece features layers of repurposing, from the vintage paper materials used, images drawn from the brand’s archive, and the distortion of iconic FENDI prints.     Inspired by visions of a distant future in which the value of objects can be judged only by their objective appearance, Coleman has created a series of mixed media artwork, made from layers of draped fabric, found objects, and deconstructed vintage FENDI bags. The collection celebrates an unexpectedness in vision and use of materials, a fitting expression of the creativity and innovation of FENDI.   FENDI has commissioned the New York based artist Sarah Coleman to reinterpret the Miami Design District FENDI Boutique and create a series of one of a kind design pieces.     For almost a century FENDI has been committed to redefining luxury through the development of new materials and techniques.  From its foundation, and through Silvia Venturini Fendi’s vision today, the Roman Luxury House has been pushing traditional methodologies and handcraft in new directions.  Inspired by FENDI’s tradition of breaking down barriers of exclusivity and luxury, the artist felt empowered to invent and reimagine.  The result feels retro and classic but also entirely new, inspired by the spirit of the 1970s.     The concept created for Design Miami/ is centered around Coleman’s design ethos of repurposing and FENDI’s DNA.  The theme takes a literal approach at times, leveraging fabrics from FENDI’s handbags to reupholster furniture in bold mixed logo prints, or printing FENDI archival imagery onto vintage magazine paper to collage a chair.  The repurposing often applies in ways that are less physical and more metaphorical. FENDI’s iconic prints are warped and manipulated in FaceTune, an app usually used for Instagram editing, but instead used to create art.  FENDI’s iconic FF and Pequin logos are reinterpreted by Sarah with a vertigo effect. This printed design will appear on the façade of the FENDI Miami Boutique, as well as on a series of limited-edition Peekaboo handbags.     In collaboration with the artist, a special limited edition of 3 styles of FENDI’s iconic Peekaboo ISeeU bags designed by Silvia Venturini Fendi will launch exclusively at the FENDI Miami Design District Boutique in late November 2020.  The limited edition FENDI Artist Peekaboo will be available in an iconic FENDI yellow with FF embossed design, a white nappa leather with phosphorescent FF beads and embroidery for a glow in the dark effect, and in a canvas body with multicolor FF thread embroidery.     In addition, Sarah has reinterpreted a one of a kind piece of the Designer’s Peekaboo bag in white canvas, transforming it into a multicolored style in plaster and acrylic paint, with FFs cut from suede, glazed with resin. The bold colors of the piece are inspired by the vibrant arts scene in Miami, as well as whimsical toys from the artist’s childhood.     Following tradition and celebrating FENDI’s longstanding relationship with Design Miami/, the boutique will be dressed up for the occasion with a special façade in a concept created by the artist, with the vertigo Pequin FENDI logo in the iconic Maison’s yellow colour.   In addition to the iconic handbags, the artist has created a series of design pieces to be displayed in the Miami boutique during Design Miami/.  Reupholstery using vintage designer bags is one of the artist’s main mediums, which inspired a cushion reupholstered using coated canvas from 1980s FENDI beach bag.   Additional pieces include a vintage rattan peacock chair, refinished in yellow acrylic paint and plaster by the artist, and an acrylic zigzag chair, covered in collage of vintage books and magazines, printed with FENDI archival images, and mixed with warped prints designed by the artist.  This piece features layers of repurposing, from the vintage paper materials used, images drawn from the brand’s archive, and the distortion of iconic FENDI prints.     Inspired by visions of a distant future in which the value of objects can be judged only by their objective appearance, Coleman has created a series of mixed media artwork, made from layers of draped fabric, found objects, and deconstructed vintage FENDI bags. The collection celebrates an unexpectedness in vision and use of materials, a fitting expression of the creativity and innovation of FENDI.  

Listen to Your Eyes in Voorlinden
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Listen to Your Eyes in Voorlinden

Art On 19 November museum Voorlinden reopens with Listen to Your Eyes. For this collection presentation, art collector and museum founder Joop van Caldenborgh (1940) was given the nearly impossible task of selecting his favourites from among the modern and contemporary works he has spent the past six decades collecting. The result is a visual journey of discovery that offers you a glimpse inside the mind of the collector. Read more On 19 November museum Voorlinden reopens with Listen to Your Eyes. For this collection presentation, art collector and museum founder Joop van Caldenborgh (1940) was given the nearly impossible task of selecting his favourites from among the modern and contemporary works he has spent the past six decades collecting. The result is a visual journey of discovery that offers you a glimpse inside the mind of the collector. Read more

THE KID : The Future is Old starting this Thursday in MOCO Museum
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THE KID : The Future is Old starting this Thursday in MOCO Museum

Art MOCO Museum will premiere the first solo exhibition in The Netherlands of International contemporary artist THE KID. Where contemporary art enlightens humanism in the social crisis and democratic decay of our 21stcentury!     An exhibition that will push boundaries, wake up humanity and shake up Museum Square in Amsterdam. MOCO Museum spotlights Internationalcontemporary artistTHE KIDfor its upcoming November exhibition. MOCO and THE KID co-curate the artist's first solo show in the Netherlands - The Future is Old.     “The Future is Old”   Mass shooting / Individualistic indifference / Institutionalized racism / Social determinism / Inequality of Opportunity / Ever-threatened civil rights (…)Does the current state of the broken American dream exemplify where too many of our democracies are heading for today, and many more in the very near future?Is history repeating itself? Will youth stand up and say no to a future that looksalready old?   Youthful portraits attract visitors with beauty and the perception of a bright future. However, on close examination, cuts and bruises reveal a darker side of reality. THE KID uses art as a means to make us question the notions of power and privilege and more generally the current evolution of humanism in our democratic societies.    THE KID’s hyper realistic bigger-than-life portraits and life-size sculptures confront the audience with deeply personal stories that expose the injustice in America and beyond in many democracies around the world today and make us question the current evolution of mankind’s History. The socially critical exhibition intends to open up our minds - ultimately, enlightening a more compassionate, understanding world.    THE KID started to work on his series of oil paintings and life-size sculptures The Future Is Oldas of the end of the year 2017. This series of art works was sparked by the strong impression made on THE KID by the Summer 2017 events in Charlottesville-USA where civil right counter protesters were violently attacked by American nationalists and white supremacists opposing the project of the municipality to take down the equestrian statue of General Robert E Lee, a leading figure of the Confederates and an historical defender of Afro-American slavery.     THE KID questions how the recent and current social and political history seems to repeat itself in too many countries and the stance today’s youth will decide to take, inspired by Martin Luther King and the words of his wife and famous civil rights activist Coretta Scott King: “Freedom is never really won, you earn it and win it in every generation”.     “THE KID: The Future is Old” is why MOCO Museum believes art can do more. The realistic appearances of gripping details of violence - bloody noses, busted lips, scars and scratches, gang tattoos, wounds, and other graphic images and historical role models - summon crucial social subject matters catching our attention and asking for immediate action from each one of us.      About contemporary artist THE KID:   Already internationally recognized for his thought-provoking and socially committed body of art works, THE KID is a natural born citizen of the world and a self-educated multidisciplinary contemporary artist, who hijacks traditional technics of the old European Masters -drawing, painting and sculpture- to question the social issues facing contemporary youth today and even more tomorrow in our polarized world of the 21st century, such as the social determinism, the ever-threatened civil rights, the inequality of opportunity or the thin frontier between innocence and corruption for today’s youth. When asked about his work THE KID likes to underline his exceptional body of works with the famous words of the great 20thcentury Master Picasso: “Art is not made to decorate apartments, it is an offensive and defensive weapon of war against the enemy”.     Photos: Courtesy Studio THE KID (all rights reserved). MOCO Museum will premiere the first solo exhibition in The Netherlands of International contemporary artist THE KID. Where contemporary art enlightens humanism in the social crisis and democratic decay of our 21stcentury!     An exhibition that will push boundaries, wake up humanity and shake up Museum Square in Amsterdam. MOCO Museum spotlights Internationalcontemporary artistTHE KIDfor its upcoming November exhibition. MOCO and THE KID co-curate the artist's first solo show in the Netherlands - The Future is Old.     “The Future is Old”   Mass shooting / Individualistic indifference / Institutionalized racism / Social determinism / Inequality of Opportunity / Ever-threatened civil rights (…)Does the current state of the broken American dream exemplify where too many of our democracies are heading for today, and many more in the very near future?Is history repeating itself? Will youth stand up and say no to a future that looksalready old?   Youthful portraits attract visitors with beauty and the perception of a bright future. However, on close examination, cuts and bruises reveal a darker side of reality. THE KID uses art as a means to make us question the notions of power and privilege and more generally the current evolution of humanism in our democratic societies.    THE KID’s hyper realistic bigger-than-life portraits and life-size sculptures confront the audience with deeply personal stories that expose the injustice in America and beyond in many democracies around the world today and make us question the current evolution of mankind’s History. The socially critical exhibition intends to open up our minds - ultimately, enlightening a more compassionate, understanding world.    THE KID started to work on his series of oil paintings and life-size sculptures The Future Is Oldas of the end of the year 2017. This series of art works was sparked by the strong impression made on THE KID by the Summer 2017 events in Charlottesville-USA where civil right counter protesters were violently attacked by American nationalists and white supremacists opposing the project of the municipality to take down the equestrian statue of General Robert E Lee, a leading figure of the Confederates and an historical defender of Afro-American slavery.     THE KID questions how the recent and current social and political history seems to repeat itself in too many countries and the stance today’s youth will decide to take, inspired by Martin Luther King and the words of his wife and famous civil rights activist Coretta Scott King: “Freedom is never really won, you earn it and win it in every generation”.     “THE KID: The Future is Old” is why MOCO Museum believes art can do more. The realistic appearances of gripping details of violence - bloody noses, busted lips, scars and scratches, gang tattoos, wounds, and other graphic images and historical role models - summon crucial social subject matters catching our attention and asking for immediate action from each one of us.      About contemporary artist THE KID:   Already internationally recognized for his thought-provoking and socially committed body of art works, THE KID is a natural born citizen of the world and a self-educated multidisciplinary contemporary artist, who hijacks traditional technics of the old European Masters -drawing, painting and sculpture- to question the social issues facing contemporary youth today and even more tomorrow in our polarized world of the 21st century, such as the social determinism, the ever-threatened civil rights, the inequality of opportunity or the thin frontier between innocence and corruption for today’s youth. When asked about his work THE KID likes to underline his exceptional body of works with the famous words of the great 20thcentury Master Picasso: “Art is not made to decorate apartments, it is an offensive and defensive weapon of war against the enemy”.     Photos: Courtesy Studio THE KID (all rights reserved).

Jarno Kooijman opens second gallery, Fundamente, in Het Industriegebouw
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Jarno Kooijman opens second gallery, Fundamente, in Het Industriegebouw

Design Jarno Kooijman - known from Gallery Jarno Kooijman in Rotterdam North - specializes in 20th Century Design & Art. Exactly ten years after the opening of the high-end gallery that bears his name, Kooijman now opens a second gallery, Fundamente. This gallery, located in the iconic Industriegebouw in Rotterdam, serves a wider audience with design furniture from the 20th century.     During his many trips through Europe, Kooijman increasingly encountered special pieces that did not exactly fit the concept of the existing gallery. In addition, he noticed an increasing interest in 20th Century Design over the past two years, which he could not serve with the specific collection of his gallery alone. Especially from a younger target group, very active on social media and with taste and knowledge in search of iconic design furniture from the last century. With the establishment of Fundamente, Kooijman starts a new concept that fits better with this broader collection.      Fundamente: for young design enthusiasts to advanced connoisseurs:   Jarno Kooijman: "Our target group ranges from the young design lover to the advanced connoisseur. All pieces are purchased based on character and feeling. We are in daily contact with our international network to find distinctive pieces of the best quality. We highlight multiple styles, from Scandinavian design to small-scale French atelier-made pieces, as well as Italian or South American influences. With this wide selection - curated according to our taste, experience and intuition - we want to add something to the perception of people. "   "Fundamente could also have remained just a webshop, but we wanted to create a place where the furniture can be admired and touched. In my opinion, Rotterdam lacked a similar location where people from a wide area could come to get inspired. Het Industriegebouw is known in Rotterdam and beyond, and fits well with Fundamente in terms of architecture, vision and culture. It’s a place with a timeless character. Neighbors like Héroine, Containr Affairs, Old Scuola and MVRDV make the location extra appealing, they are also part of how you experience the building and the area. "     Het Industriegebouw: an icon of the reconstruction, now filled with showpieces from the same era.   Eva Sharo, one of the directors of Het Industriegebouw: “Fundamente in Het Industriegebouw is a perfect match; an icon of the reconstruction, now filled with showpieces from the same time. Timing is also important; we are asked to spend more time at home, where a pleasant experience is important. Concepts such as reuse and slow-living are becoming more and more important. The surprising combination of affordable pieces and wish-list items makes Fundamente accessible to a wide audience of design enthusiasts. Jarno's enthusiasm is also infectious and acts as a catalyst within the building. ”     Het Industriegebouw was realized in post-war Rotterdam and designed by Hugh Maaskant, in collaboration with Willem van Tijen. Het Industriegebouw was built by order of the Municipality of Rotterdam, making it one of the first multi-company buildings in the Netherlands. In 2015, the 22,000 m2 national monument was practically empty. The idea to restore this icon of Rotterdam's reconstruction to its original state and function was born. Nowadays, Het Industriegebouw is a hotspot within Rotterdam and one of the most popular Dutch multi-company buildings. Jarno Kooijman - known from Gallery Jarno Kooijman in Rotterdam North - specializes in 20th Century Design & Art. Exactly ten years after the opening of the high-end gallery that bears his name, Kooijman now opens a second gallery, Fundamente. This gallery, located in the iconic Industriegebouw in Rotterdam, serves a wider audience with design furniture from the 20th century.     During his many trips through Europe, Kooijman increasingly encountered special pieces that did not exactly fit the concept of the existing gallery. In addition, he noticed an increasing interest in 20th Century Design over the past two years, which he could not serve with the specific collection of his gallery alone. Especially from a younger target group, very active on social media and with taste and knowledge in search of iconic design furniture from the last century. With the establishment of Fundamente, Kooijman starts a new concept that fits better with this broader collection.      Fundamente: for young design enthusiasts to advanced connoisseurs:   Jarno Kooijman: "Our target group ranges from the young design lover to the advanced connoisseur. All pieces are purchased based on character and feeling. We are in daily contact with our international network to find distinctive pieces of the best quality. We highlight multiple styles, from Scandinavian design to small-scale French atelier-made pieces, as well as Italian or South American influences. With this wide selection - curated according to our taste, experience and intuition - we want to add something to the perception of people. "   "Fundamente could also have remained just a webshop, but we wanted to create a place where the furniture can be admired and touched. In my opinion, Rotterdam lacked a similar location where people from a wide area could come to get inspired. Het Industriegebouw is known in Rotterdam and beyond, and fits well with Fundamente in terms of architecture, vision and culture. It’s a place with a timeless character. Neighbors like Héroine, Containr Affairs, Old Scuola and MVRDV make the location extra appealing, they are also part of how you experience the building and the area. "     Het Industriegebouw: an icon of the reconstruction, now filled with showpieces from the same era.   Eva Sharo, one of the directors of Het Industriegebouw: “Fundamente in Het Industriegebouw is a perfect match; an icon of the reconstruction, now filled with showpieces from the same time. Timing is also important; we are asked to spend more time at home, where a pleasant experience is important. Concepts such as reuse and slow-living are becoming more and more important. The surprising combination of affordable pieces and wish-list items makes Fundamente accessible to a wide audience of design enthusiasts. Jarno's enthusiasm is also infectious and acts as a catalyst within the building. ”     Het Industriegebouw was realized in post-war Rotterdam and designed by Hugh Maaskant, in collaboration with Willem van Tijen. Het Industriegebouw was built by order of the Municipality of Rotterdam, making it one of the first multi-company buildings in the Netherlands. In 2015, the 22,000 m2 national monument was practically empty. The idea to restore this icon of Rotterdam's reconstruction to its original state and function was born. Nowadays, Het Industriegebouw is a hotspot within Rotterdam and one of the most popular Dutch multi-company buildings.

CAO FEI UNVEILS HER LATEST ARTWORK, ISLE OF INSTABILITY, COMMISSIONED BY AUDEMARS PIGUET CONTEMPORARY AT WEST BUND ART & DESIGN
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CAO FEI UNVEILS HER LATEST ARTWORK, ISLE OF INSTABILITY, COMMISSIONED BY AUDEMARS PIGUET CONTEMPORARY AT WEST BUND ART & DESIGN

Art Cao Fei’s latest artwork—a multi-media installation commissioned by Audemars Piguet Contemporary—premieres in Shanghai this week, at West Bund Art & Design, where it is on view to the public for the duration of the fair (11– 15 November). The piece, titled Isle of Instability, is the artist’s first large-scale installation to be exhibited since the start of the pandemic and responds at a personal level to the artist's time living in isolation with her family in Singapore, precipitated by Covid-19.     Cao Fei has risen to global renown in the past two decades. Her practice includes film, digital media, photography, sculpture, installation, drawing and performance and captures her fascination with humanity and a response to the rapid technological developments experienced this century. The artist deals with themes of anticipation and questions the possible collapse of our future while proposing an escape, or a solution, through the potential of humanity: its dreams, imagination, creativity and the individual in relation to the collective.     Audemars Piguet Contemporary was engaged in developing a Studio Audemars Piguet artwork with Cao Fei well before the onset of Covid-19. In October 2019, Cao Fei visited the home of the brand, in Le Brassus, Switzerland, to finalise plans for the initial artwork. As worldwide cases of the virus grew, Cao Fei and her family found themselves in Singapore unable to return to their home in Beijing due to international travel restrictions. Together, Cao Fei and the Audemars Piguet Contemporary team agreed on a new subject matter for the art commission.     Isle of Instability was imagined and produced in the artist’s apartment in Singapore, which became amakeshift studio during the ten months that she lived there with her family, away from her home, studio and day-to-day habits in Beijing. Reminiscent of the artist’s early low-tech DIY artworks, the multi- media installation is based on a documentary study conducted by the artist during quarantine. Itexplores the psychological and physical implications that lockdown had on the artist, her family and humanity.     Isle of Instability comprises a two-room installation that visitors can walk through and experience at their own pace. The visitor first enters a room which resembles a commercial art gallery. Humour is imbued into the space, which presents minimalist objects that were collected during the artist’s time inquarantine as objets d’art, including plastic bags for the family’s subsistence, bread tags, bottles of sanitiser, toilet paper rolls and airplane tickets from their eventual return trip to China. The second room—a home setting—presents viewers with a replica of the artist and her family’s immediatesurroundings during quarantine, including photography, texts and drawings related to her experience of the global pandemic and the new habits she formed along the way. Two video installations are shown here. Lighthouse presents visitors with the views that Cao Fei saw from the balcony of her apartment, a lighthouse in a city far from home and normality. Outlying Island, explores the idea of escapism in a new reality through an “island” which the artist constructed for her daughter (who assisted throughout the development of the artwork) in the middle of their living room.     Through the mix of public and private, echoing both the nearby art fair booths and the privacy of one’shome, Isle of Instability explores the synergy and conflict that lies between these two realms. The artwork is presented at a time when the notion of the indoor and the outdoor, the private and the public, is being reimagined on a global scale. It addresses the question of how one can continue to exist in spite of limitations caused by the global pandemic. By proposing a shared experience via her own personal testimony, Cao Fei offers solace to the visiting public and the opportunity to converse about the ways in which humanity deals with uncertainty. Cao Fei’s latest artwork—a multi-media installation commissioned by Audemars Piguet Contemporary—premieres in Shanghai this week, at West Bund Art & Design, where it is on view to the public for the duration of the fair (11– 15 November). The piece, titled Isle of Instability, is the artist’s first large-scale installation to be exhibited since the start of the pandemic and responds at a personal level to the artist's time living in isolation with her family in Singapore, precipitated by Covid-19.     Cao Fei has risen to global renown in the past two decades. Her practice includes film, digital media, photography, sculpture, installation, drawing and performance and captures her fascination with humanity and a response to the rapid technological developments experienced this century. The artist deals with themes of anticipation and questions the possible collapse of our future while proposing an escape, or a solution, through the potential of humanity: its dreams, imagination, creativity and the individual in relation to the collective.     Audemars Piguet Contemporary was engaged in developing a Studio Audemars Piguet artwork with Cao Fei well before the onset of Covid-19. In October 2019, Cao Fei visited the home of the brand, in Le Brassus, Switzerland, to finalise plans for the initial artwork. As worldwide cases of the virus grew, Cao Fei and her family found themselves in Singapore unable to return to their home in Beijing due to international travel restrictions. Together, Cao Fei and the Audemars Piguet Contemporary team agreed on a new subject matter for the art commission.     Isle of Instability was imagined and produced in the artist’s apartment in Singapore, which became amakeshift studio during the ten months that she lived there with her family, away from her home, studio and day-to-day habits in Beijing. Reminiscent of the artist’s early low-tech DIY artworks, the multi- media installation is based on a documentary study conducted by the artist during quarantine. Itexplores the psychological and physical implications that lockdown had on the artist, her family and humanity.     Isle of Instability comprises a two-room installation that visitors can walk through and experience at their own pace. The visitor first enters a room which resembles a commercial art gallery. Humour is imbued into the space, which presents minimalist objects that were collected during the artist’s time inquarantine as objets d’art, including plastic bags for the family’s subsistence, bread tags, bottles of sanitiser, toilet paper rolls and airplane tickets from their eventual return trip to China. The second room—a home setting—presents viewers with a replica of the artist and her family’s immediatesurroundings during quarantine, including photography, texts and drawings related to her experience of the global pandemic and the new habits she formed along the way. Two video installations are shown here. Lighthouse presents visitors with the views that Cao Fei saw from the balcony of her apartment, a lighthouse in a city far from home and normality. Outlying Island, explores the idea of escapism in a new reality through an “island” which the artist constructed for her daughter (who assisted throughout the development of the artwork) in the middle of their living room.     Through the mix of public and private, echoing both the nearby art fair booths and the privacy of one’shome, Isle of Instability explores the synergy and conflict that lies between these two realms. The artwork is presented at a time when the notion of the indoor and the outdoor, the private and the public, is being reimagined on a global scale. It addresses the question of how one can continue to exist in spite of limitations caused by the global pandemic. By proposing a shared experience via her own personal testimony, Cao Fei offers solace to the visiting public and the opportunity to converse about the ways in which humanity deals with uncertainty.

Pillows Grand Boutique Hotel Ter Borch,  Zwolle
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Pillows Grand Boutique Hotel Ter Borch, Zwolle

Travel Feel at home in the luxurious and timeless elegance of this old villa. Whether you are travelling for business or pleasure, on a city trip or on a longer break in the city, Pillows Zwolle is always your perfect destination. All  41 deluxe rooms and suites are a warm home away from home. Stay in one of the rooms or suites with a personal, inviting and refined ambiance, with eye-catching art and a homelike feel.   Coperto Restobar, awarded with a Bib Gourmand by Michelin, is the place to go for the most sublime and tasty surprises. Enjoy a gratifying lunch or dinner experience in the restaurant’s sunny conservatory or on the charming terrace. Chef Remco Jansen believes in a new and modern take on food in a familiar setting. A culinary treat, for all your senses.    Take a break from your day and unwind in one of the two private saunas, or stay in shape in their gym.   "Pillow Hotel Zwolle is located on the very centre of Zwolle, right next to the train station and walking distance from the city. It is located in a beautiful building where traditional meets modern aestetic. First thing when you walk in you are welcomed with a glass of champagne by the very kind staff. Once you get to your room that are all very spacious you can book a private sauna, which is a highlight for sure. I also recommend to rent bikes and go experience the city centre that is in shape of a star. The city offers plenty of good places to eat and a great museum to visit amongs all the cute little streets which are full of stores and boutiques. For dinner we suggest you to book a table at their in-hotel Coperto Restobar, where you can enjoy a multiple course menu, which indeed is a culinary treat. All in all it is a perfect spot to enjoy some time off." - Timotej Letonja   Visit their website for more information and reservations: https://www.pillowshotels.com/# Feel at home in the luxurious and timeless elegance of this old villa. Whether you are travelling for business or pleasure, on a city trip or on a longer break in the city, Pillows Zwolle is always your perfect destination. All  41 deluxe rooms and suites are a warm home away from home. Stay in one of the rooms or suites with a personal, inviting and refined ambiance, with eye-catching art and a homelike feel.   Coperto Restobar, awarded with a Bib Gourmand by Michelin, is the place to go for the most sublime and tasty surprises. Enjoy a gratifying lunch or dinner experience in the restaurant’s sunny conservatory or on the charming terrace. Chef Remco Jansen believes in a new and modern take on food in a familiar setting. A culinary treat, for all your senses.    Take a break from your day and unwind in one of the two private saunas, or stay in shape in their gym.   "Pillow Hotel Zwolle is located on the very centre of Zwolle, right next to the train station and walking distance from the city. It is located in a beautiful building where traditional meets modern aestetic. First thing when you walk in you are welcomed with a glass of champagne by the very kind staff. Once you get to your room that are all very spacious you can book a private sauna, which is a highlight for sure. I also recommend to rent bikes and go experience the city centre that is in shape of a star. The city offers plenty of good places to eat and a great museum to visit amongs all the cute little streets which are full of stores and boutiques. For dinner we suggest you to book a table at their in-hotel Coperto Restobar, where you can enjoy a multiple course menu, which indeed is a culinary treat. All in all it is a perfect spot to enjoy some time off." - Timotej Letonja   Visit their website for more information and reservations: https://www.pillowshotels.com/#

GUCCI PRESENTS THE NEW COLLECTION OUVERTURE
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GUCCI PRESENTS THE NEW COLLECTION OUVERTURE

Fashion Gucci is pleased to announce that its upcoming collection, titled OUVERTURE of Something that Never Ended, will be presented by Creative Director Alessandro Michele through the eponymousmini-series in seven episodes screened during GucciFest, an innovative digital fashion and film festival running from November 16thto 22nd.    Shot in Rome and co-directed by filmmaker Gus Van Sant and Alessandro Michele, the seven-part film series stars the actress, artist and performer Silvia Calderoni in a surreal daily routine in the city, encountering a series of international talents and Friends of the House, including: Paul B. Preciado, Achille Bonito Oliva, Billie Eilish, Darius Khonsary, Lu Han, Jeremy O. Harris, Ariana Papademetropoulos, Arlo Parks, Harry Styles, Sasha Waltz and Florence Welch.   The seven episodes will be released daily through the course of the festival as an exclusive broadcast on YouTube Fashion, Weibo, Gucci YouTube and will be embedded on the dedicated site GucciFest.com, gradually revealing the new collection day by day.   As anticipated by Alessandro Michele last May on the occasion of the release of his manifesto Notes From the Silence, the presentation of the new collection is a joyful and irregular new tale, no longer constrained by the old notion of seasonality, closer to his expressive call and told by blending rules and genres, feeding on new spaces, linguistic codes and communication platforms.    Together with the OUVERTURE of Something that Never Endedseries, the GucciFest will also be screening fashion films celebrating the works of fifteen independent young designers: Ahluwalia, Shanel Campbell, Stefan Cooke, Cormio, Charles De Vilmorin, JordanLuca, Mowalola, Yueqi Qi, Rave Review, Gui Rosa, Rui, Bianca Saunders, Collina Strada, Boramy Viguier, and Gareth Wrighton. Proudly supported by the House, these talented emerging designers were selected by Creative Director Alessandro Michele to showcase their collections across the digital platforms of the GucciFest.    The full GucciFest will be broadcast from November 16th to 22nd on You Tube Fashion, Weibo, Gucci YouTube and embedded on the dedicated site Guccifest.com. The complete program of the GucciFest week will be available from November 13th. Gucci is pleased to announce that its upcoming collection, titled OUVERTURE of Something that Never Ended, will be presented by Creative Director Alessandro Michele through the eponymousmini-series in seven episodes screened during GucciFest, an innovative digital fashion and film festival running from November 16thto 22nd.    Shot in Rome and co-directed by filmmaker Gus Van Sant and Alessandro Michele, the seven-part film series stars the actress, artist and performer Silvia Calderoni in a surreal daily routine in the city, encountering a series of international talents and Friends of the House, including: Paul B. Preciado, Achille Bonito Oliva, Billie Eilish, Darius Khonsary, Lu Han, Jeremy O. Harris, Ariana Papademetropoulos, Arlo Parks, Harry Styles, Sasha Waltz and Florence Welch.   The seven episodes will be released daily through the course of the festival as an exclusive broadcast on YouTube Fashion, Weibo, Gucci YouTube and will be embedded on the dedicated site GucciFest.com, gradually revealing the new collection day by day.   As anticipated by Alessandro Michele last May on the occasion of the release of his manifesto Notes From the Silence, the presentation of the new collection is a joyful and irregular new tale, no longer constrained by the old notion of seasonality, closer to his expressive call and told by blending rules and genres, feeding on new spaces, linguistic codes and communication platforms.    Together with the OUVERTURE of Something that Never Endedseries, the GucciFest will also be screening fashion films celebrating the works of fifteen independent young designers: Ahluwalia, Shanel Campbell, Stefan Cooke, Cormio, Charles De Vilmorin, JordanLuca, Mowalola, Yueqi Qi, Rave Review, Gui Rosa, Rui, Bianca Saunders, Collina Strada, Boramy Viguier, and Gareth Wrighton. Proudly supported by the House, these talented emerging designers were selected by Creative Director Alessandro Michele to showcase their collections across the digital platforms of the GucciFest.    The full GucciFest will be broadcast from November 16th to 22nd on You Tube Fashion, Weibo, Gucci YouTube and embedded on the dedicated site Guccifest.com. The complete program of the GucciFest week will be available from November 13th.

BVLGARI ROMA: TRAVEL TALES FOR BEAUTY LOVERS
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BVLGARI ROMA: TRAVEL TALES FOR BEAUTY LOVERS

Art Since the house’s founding in 1884, the majestic beauty of Rome with its archaeological, artistic, and cultural heritage has provided Bvlgari, one of its most storied purveyors of luxury and style, with an inexhaustible source of inspiration. Bvlgari’s deep roots in Rome has yielded Bvlgari Roma: Travel Tales for Beauty Lovers, a one-of-a-kind guide to the Eternal City that cleverly connects the city’s landmarks with the timeless Bvlgari designs that they have inspired.   For example, the design of the iconic B-zero1 ring was inspired by the Colosseum, the ultimate symbol of the city, and likewise the recurrent octagonal geometries watch dial refers to the coffered ceiling of the Basilica of Maxentius. As editor and artistic director Jan Králiĉek states in the Preface, “You will understand how and why the curves of a building are mirrored in a necklace, and how the detail of a mythical painting unfolds into the story of an iconic bracelet or how the dyadic character of a building can be reflected in something as intimate and subtle as a ring. ”This portable volume takes the reader on an unprecedented historical, artistic, and emotional tour of the city. In addition to an actual guide to landmarks and monuments, the narration is enriched by short stories by some of the best-known Roman authors from the world of contemporary Italian literature, inspired by the most iconic locations in the city. The book is further enhanced by contributions from figures linked to the city by birth, by adoption, or by mere passionate attachment including renowned names from fashion, cinema, sport, and music like Anna Della Russo, Lily Aldridge, Ennio Morricone, Roberto Rossellini, Boy George, and Francesco Vezzoli. This unique book is for lovers of and visitors to Rome whose level of sophistication far exceeds the typical city guide. Bvlgari Roma: Travel Tales for Beauty Lovers will be coveted by the reader who loves Rome and is an aficionado of the Bvlgari style—two things inextricably linked.     About: Jan Králícek studied cultural anthropology and media at Charles University in Prague. He is now creative director of Vogue Czechoslovakia and fashion editor-at-large for Vogue Portugal and GQ Portugal. Costantino D’Orazio is an Art historian and curator at the Rome Municipality Cultural Heritage Department and the author of essays and novels on ancient and contemporary art. André Aciman is the New York Times bestselling author of Call Me by Your Name and Find Me as well as many other books, and essays. Aciman is the director of The Writers’ Institute, teaches Comparative Literature at the Graduate Center, CUNY and his work has appeared in The New Yorker, The New York Review of Books, The New York Times, The New Republic, Condé Nast Traveler and in many volumes of The Best American Essays. Teresa Ciabatti earned a degree in Modern Humanities from La Sapienza University in Rome. Her first novel, Adelmo, torna da me, was adapted into a film directed by Carlo Virzì in 2005. Her work has appeared in many literary magazines and anthologies, and she is a regular contributor to Corriere della Sera. Melania G. Mazzucco is the author numerous books which have been published in in twenty-seven countries and her work on the Venetian painter Tintoretto includes the novel La lunga attesa dell’angelo, the monumental biography Jacomo Tintoretto & i suoi figli. Storia di una famiglia veneziana, and the docufilm Tintoretto. She has written for cinema, theater, and the radio, and is a contributor to la Repubblica. Francesco Piccolo is the author of numerous books and he is a regular contributor to Corriere della Sera. He has also written many screenplays including the television serialization of the best-selling Elena Ferrante novel My Brilliant Friend.     BVLGARI ROMA: TRAVEL TALES FOR BEAUTY LOVERS Edited by Jan Králiĉek Texts by Costantino D'Orazio, André Aciman, Teresa Ciabatti, Melania Mazzucco, and Francesco Piccolo Hardcover / 5” x 7” / 304 pages / 300 color illustrations $40.00 U.S. / $55.00 Canadian / £27.00 U.K. ISBN: 978-8-89-182943-6 / Rizzoli New York / Release date: November 2020 Since the house’s founding in 1884, the majestic beauty of Rome with its archaeological, artistic, and cultural heritage has provided Bvlgari, one of its most storied purveyors of luxury and style, with an inexhaustible source of inspiration. Bvlgari’s deep roots in Rome has yielded Bvlgari Roma: Travel Tales for Beauty Lovers, a one-of-a-kind guide to the Eternal City that cleverly connects the city’s landmarks with the timeless Bvlgari designs that they have inspired.   For example, the design of the iconic B-zero1 ring was inspired by the Colosseum, the ultimate symbol of the city, and likewise the recurrent octagonal geometries watch dial refers to the coffered ceiling of the Basilica of Maxentius. As editor and artistic director Jan Králiĉek states in the Preface, “You will understand how and why the curves of a building are mirrored in a necklace, and how the detail of a mythical painting unfolds into the story of an iconic bracelet or how the dyadic character of a building can be reflected in something as intimate and subtle as a ring. ”This portable volume takes the reader on an unprecedented historical, artistic, and emotional tour of the city. In addition to an actual guide to landmarks and monuments, the narration is enriched by short stories by some of the best-known Roman authors from the world of contemporary Italian literature, inspired by the most iconic locations in the city. The book is further enhanced by contributions from figures linked to the city by birth, by adoption, or by mere passionate attachment including renowned names from fashion, cinema, sport, and music like Anna Della Russo, Lily Aldridge, Ennio Morricone, Roberto Rossellini, Boy George, and Francesco Vezzoli. This unique book is for lovers of and visitors to Rome whose level of sophistication far exceeds the typical city guide. Bvlgari Roma: Travel Tales for Beauty Lovers will be coveted by the reader who loves Rome and is an aficionado of the Bvlgari style—two things inextricably linked.     About: Jan Králícek studied cultural anthropology and media at Charles University in Prague. He is now creative director of Vogue Czechoslovakia and fashion editor-at-large for Vogue Portugal and GQ Portugal. Costantino D’Orazio is an Art historian and curator at the Rome Municipality Cultural Heritage Department and the author of essays and novels on ancient and contemporary art. André Aciman is the New York Times bestselling author of Call Me by Your Name and Find Me as well as many other books, and essays. Aciman is the director of The Writers’ Institute, teaches Comparative Literature at the Graduate Center, CUNY and his work has appeared in The New Yorker, The New York Review of Books, The New York Times, The New Republic, Condé Nast Traveler and in many volumes of The Best American Essays. Teresa Ciabatti earned a degree in Modern Humanities from La Sapienza University in Rome. Her first novel, Adelmo, torna da me, was adapted into a film directed by Carlo Virzì in 2005. Her work has appeared in many literary magazines and anthologies, and she is a regular contributor to Corriere della Sera. Melania G. Mazzucco is the author numerous books which have been published in in twenty-seven countries and her work on the Venetian painter Tintoretto includes the novel La lunga attesa dell’angelo, the monumental biography Jacomo Tintoretto & i suoi figli. Storia di una famiglia veneziana, and the docufilm Tintoretto. She has written for cinema, theater, and the radio, and is a contributor to la Repubblica. Francesco Piccolo is the author of numerous books and he is a regular contributor to Corriere della Sera. He has also written many screenplays including the television serialization of the best-selling Elena Ferrante novel My Brilliant Friend.     BVLGARI ROMA: TRAVEL TALES FOR BEAUTY LOVERS Edited by Jan Králiĉek Texts by Costantino D'Orazio, André Aciman, Teresa Ciabatti, Melania Mazzucco, and Francesco Piccolo Hardcover / 5” x 7” / 304 pages / 300 color illustrations $40.00 U.S. / $55.00 Canadian / £27.00 U.K. ISBN: 978-8-89-182943-6 / Rizzoli New York / Release date: November 2020

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