Dubai Expo, Dubai Expo latest news, Dubai Expo news
Italy launches cultural rescue project at Expo 2020 Dubai

Italy, renowned for its centuries of experience in trying to preserve its rich artistic culture, took advantage of its presence at a World’s Fair in Dubai to launch a project to help other nations around the Mediterranean save heritage by Danger.

Italy has already made headlines with its pavilion at Expo 2020, which opened earlier this month after a year of delay due to the pandemic.

At the center of its national display is a reproduction of Michelangelo’s David, made using one of the largest 3D printers in the world and based on 40 hours of digital scanning of the original 16th century marble sculpture that is located in Florence.

Grazia Tucci, an engineering professor at the University of Florence, said the model is an example of the type of work her center will promote.

“Like the Buddhas of Bamiyan (in Afghanistan) or the triumphal arch of Palmyra (in Syria), our cultural heritage is in danger. Endangered by nature and also by humans, ”said Tucci, who will run the center.

The 3D twin of Michelangelo’s David statue is pictured in the Italian pavilion at Expo 2020 Dubai. (REUTERS / Rula Rouhana)

Speaking at the launch of the project on Sunday, she said it was essential to preserve heritage for future generations and that Italy would share “the best technologies” to train professionals from around the Mediterranean in preservation, digitization and the restoration of objects and sites that could be lost as a result of the violence. .

Hybrid courses, involving online and in-person sessions, will be launched over the next few weeks and the Advanced Professional Training Center for the Digitization and Reconstruction of Cultural Heritage will remain at the Italian pavilion after the World Expo closes in March. . It’s not yet

clear for how long.

Based on the theme “Beauty Connects People”, the pavilion is one of some 200 booths at Expo 2020 Dubai representing 192 countries. This is the first global exhibition to be held in the Middle East and follows on from Expo 2015 in Milan.

Organizers hope to attract 25 million visits. They have not officially released visitor numbers, but the UAE’s national newspaper said more than 50,000 people had visited 170 different nationalities so far.

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Palestinian artist, Palestinian artist Beirut blast
Stitches represent scars in art exhibit of Beirut explosion survivors

Palestinian artist Majd Abdel Hamid, a survivor of the Beirut explosion in 2020, opened his first solo exhibition in Brussels this month, with displays of embroidery and video installations to convey the passage of time.

Born in Syria and now based in Beirut, 33-year-old visual artist Majd Abdel Hamid embroiders fabrics he collects and objects he finds, from cushions to kitchen towels.

Sometimes colorful and sometimes just white on white, they are designed as an abstract representation of the time and places it has been, evoking wars, political and economic crises, and the COVID-19 pandemic.

Palestinian artist Majd Abdel Hamid during his exhibition “A Stitch in Times” in Brussels. (REUTERS / Yves Herman)

“It was like an acceleration of the trauma. It’s not even a trauma that you have. It was quite difficult to deal with what happened and how can you deal with it, ”Abdel Hamid told Reuters TV.

Abdel Hamid was injured in the explosion of ammonium nitrate stored in the port of Beirut in August 2020, with fragments of wood still stuck under a scar on his head. The stitches in his “A Stitch in Times” represent mental and physical scars.

The exhibition in an exhibition space of the Fondation d’entreprise Hermes, behind the Hermes store in Brussels will be the first exhibition of all of his work.

Palestinian artist, Palestinian artist Majd Abdel Hamid, artist Majd Abdel Hamid The stitches in his “A Stitch in Times” represent mental and physical scars. (REUTERS / Yves Herman)

Abdel Hamid describes embroidery as a “timeless medium”, a slow process of making and undoing. An exhibition piece, “Salt of the Earth”, shows threads suspended and crystallized by salt.

Another shows him undoing white sheets at his house.

“Embroidery is still used to celebrate the pride of a country, the pride of the family, it’s about patterns. When you embroider raw reality, dramatic situations or violence, it creates tension, ”he said.

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Martin Ron, Martin Ron Argentina mural, Martin Ron artwork
Argentinian artist reflects drought of Parana River in giant murals

In the Argentine town of San Nicolas de los Arroyos, which runs along the banks of the Parana River, two huge wall paintings reflect local concerns about a growing environmental problem for the region – the drop in waterway levels.

The two 40-meter-high (130-foot) paintings on the sides of downtown buildings were sparked by the artist’s desire to spark debate about the river’s decline. Struck by a lack of precipitation up the river in Brazil, the Parana reached its lowest level in nearly 80 years this year.

One mural shows a boy extracting a native flower from the river, while the other shows a girl whose image is reflected in the water.

A general view shows murals painted by Argentinian artist Martin Ron about the historic drought that lowered the level of the Parana River, the country’s most important river, in San Nicolas, Argentina. (REUTERS / Agustin Marcarian)

“When I arrived in San Nicolas, I was struck by the historic low level of the Parana River,” Argentine muralist Martin Ron, who has created hundreds of murals around the world, told Reuters.

“These characters that I use always interact with an aspect of the place in the context in which I paint and it seemed appropriate to me to portray this ecological message linked to the decline of Parana.

The river, which originates in Brazil before winding through Paraguay then Argentina to the ocean, carries around 80% of Argentina’s agricultural exports of soybeans, corn and wheat, transported by giant Panamax ships. from inland agricultural regions to the world.

It is essential for the economic well-being of the country, as well as for the creation of an important wetland ecosystem near the river delta.

The low levels have forced ships to accept smaller loads to stay higher in the water, hampering trade and hurting what is generally a competitive advantage for the country – the deep waterways that allow access. to large container ships.

Ron said his art is meant to play an active role in encouraging people to look at what needs to change.

The 40-year-old artist paints between 10 and 12 murals each year and has transformed his style from urban surrealism to what he calls “magical hyper-realism”. Other murals he has done include a girl building with Lego blocks and a portrait of footballer Carlos Tevez.

Although Ron spends much of his life on cranes and scaffolding, the artist admits he suffers from vertigo.

“There’s a bit of a love-hate relationship with the way I do my job because, ironically, I’m very scared of heights,” he said.

“So in every project it’s like I have three days in which to acclimatize to the altitude.”

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Bringing the Broadway Show to Life

On March 12, 2020, Broadway died out. Curtains lowered. Ghost lights on. Doors locked.

The actors have dispersed. A lucky few have retreated to vacation homes, many newbies have returned to mom and dad, and many have crouched down in New York City, waiting for the pandemic to pass.

But what happened to the other stars of the show – those glare-smacking visual effects?

Here’s how five returning shows are making sure some of their iconic shows are ready for prime time. Warning: spoilers to come.

‘The Phantom of the Opera’

Eight times a week, for 32 years until the pandemic struck, a giant chandelier plunged over the audience and crashed onto the stage as the first act of “The Phantom of the Opera” concluded at Majestic Theater.

The one-ton, 6000-bead chandelier is not only Broadway’s most famous stage effect, but also the oldest. The one time the team seriously considered replacing it with a more modern model, “superstition won out,” according to the show’s production supervisor Seth Sklar-Heyn. So the original remains.

The elevator onstage at “Hadestown” at the Walter Kerr Theater in New York City on September 1, 2021. Five great Broadway shows including “The Phantom of the Opera” and “Moulin Rouge!” », Have been retuned, restored and restarted their signature effects. (Justin J Wee / The New York Times)

How attached is the “Phantom” family to their famous fixture? Let’s just say this chandelier has a name, Ruthie II. It is named after Ruth Mitchell, who was the assistant to Hal Prince, the director of “Phantom”. (The Ruthie I hangs in London; on the world tour, the chandelier is called Hal.)

“He’s become a character in a lot of ways,” Sklar-Heyn said. “One of the first times I called [cues for] the show the chandelier stalled – she didn’t want to move. And I remember thinking that it is essential that it comes to life.

After the last morning of last year, the “Phantom” crew took the device down on stage, plugged it in to charge it, then hoisted it halfway between the floor and the ceiling, thinking that they would be back in a few weeks. And that’s where the chandelier spent the next year over – waiting for a signal that never came.

At the start of the summer, the team returned to check Ruthie II and give her a tune-up. She got new cables, weld inspection and engine upgrades.

The first time the crew hoisted her up, they moved slowly, seeking reassurance that she was ready to fly. She was, and now they’re awaiting the show’s first post-closing performance on October 22.

“The first night,” Sklar-Heyn said, “I think there will be more applause than anything else.”

‘Tina – The Musical Tina Turner’

At first, it seemed good to let the costumes of “Tina” hang. They were in boxes all over the Lunt-Fontanne Theater, sweaty from this last performance, but it wouldn’t be long before they were used again.

As the weeks turned into months, the musical team reconsidered. These changing rooms were not cooled and the fabric could be damaged by dry rot or mold. So, in the summer of 2020, the wardrobe team gathered the period outfits and moved them to air-conditioned wings and a quick change room nearby.

Of particular concern: the series’ signature “Proud Mary” dress, a short, sleeveless, bugle-beaded gold number with fringes and sequins, worn by the actress playing Turner (who, before the pandemic, had been Adrienne Warren in most performances) in an emotionally raw streak at the end of Act 1.

The “Phantom of the Opera” chandelier at the Majestic Theater in New York, August 24, 2021. Five great shows are back on Broadway, including “The Phantom of the Opera” and “Moulin Rouge!” Have retuned, restored and restarted their signature effects. (Justin J Wee / The New York Times)

The dress, one of 18 the character puts on for 160 minutes, is too heavy to hang – it can stretch or get tangled – so wardrobe supervisor Linda Lee wrapped it in a soft golden napkin (“I’m a little crazy”) and put it in a basket.

“Dresses and beaded dresses are very fragile and she doesn’t wear that dress in a fragile way,” said Lee, who worked in the costume departments on Broadway for 40 years. “She moves a lot. This dress takes a hit.

As reopening rehearsals neared this summer, Lee and his team returned to collect the costumes and send them to dry cleaning (to Ernest Winzer Cleaners, whose theatrical expertise earned him an honorary Tony Award in 2018).

And then the restoration began, as the show gears up for a reboot on October 8. Lee put the dress on a mannequin and proceeded to repair the neckline, where a few beads were missing. Later, her team would work on the rest of the dress.

“The only thing that has to happen is some repair work to make it perfect,” Lee said, “that’s what we want it to be.”


The first song of “Hadestown” is called “Road to Hell”, so it goes without saying that the central element of the set is just that: a passage to the underworld.

The show is a tale of the myth of Orpheus and Eurydice, dividing his time between the world above and the world below. How do you switch from one to the other on a Broadway stage? An elevator, of course.

In fact, it’s called an elevator, and it’s a large part of the stage floor that, controlled by push chains and a 15 horsepower motor, can carry actors or objects 8 feet below. from the stage floor and 2 feet above. The platform descends through a cylinder at varying speeds – it peaks at around 12 inches per second during the show – and at the bottom is a door through which actors can enter or exit.

When Broadway closed, the “Hadestown” crew left the elevator at ground level, so anyone walking through the theater in the dark wouldn’t fall into a hole. The four chains stretched under the bridge for almost a year and a half.

“There wasn’t a massive discussion about what we should be doing to preserve it,” said Spencer Greene, the assistant carpenter, “because we all genuinely thought Broadway wouldn’t be down for that long.”

When the crew finally returned this summer, they weren’t sure what to find. They started cleaning the chains, re-oiling the machines, then testing, testing, testing. They ran the elevator with no one on it. It sounded good. Then the chief carpenter mounted it. Always good. A few more people. And, after the series of safety tests, the actors were allowed to board.

“Hadestown” resumed its performances on September 2. On this first show, audiences were thrilled when, at the start of the first act, Hades escorted Persephone on his annual trip to Hell. As the couple disappeared beneath the stage, the crowd cheered.

“Harry Potter and the Cursed Child”

Harry Potter is a wizard who lives in a world of wands and spells, so obviously “Harry Potter and the Cursed Child” is filled with magic. Some of the illusions are familiar to Potterheads – the show opens with the Sorting Hat, which assigns wizarding students to houses at Hogwarts, while others are new to the plot of “The Cursed Child,” and we’re not going to tell you about it. because we keep secrets.

Jamie Harrison, the production’s chief illusionist, said some equipment – especially anything that generates flames or fire – will need to be replaced due to potential degradation before the show, consolidated from two parts to a, don’t come back on november 12th.

But he’s not particularly worried about the technology. Instead, he said, he’s more concerned with the human challenges: retraining actors emerging from a long and decidedly non-magical one.

“It takes hundreds of hours of rehearsal to get some of the performance effects of the show, and it takes a lot of discipline for the performers to stay in character and do very delicate or artificial things with their body or their hands. . ”Harrison said. “So the biggest part of bringing illusions back to life is the rehearsal of the performers. “

They, of course, are primarily trained as actors, not magicians. “It can be really intimidating when they first arrive,” Harrison said. “You can see the terror on their faces.”

And is magic a skill you remember?

“My feeling is that it will be like getting back on a bicycle,” said Harrison. “But some of these sequences in ‘Cursed Child’ are very complicated technically for the performers, and they have to get to this point where they can do it without having to go through the gray matter. We might have to start over, but I’m fine. convinced that we have enough time to return to our high standards. ”

‘Red Mill! Musical comedy’

Derek McLane is a great set designer, who works regularly on and off Broadway and has designed the set for the Oscars six times. He’s a New Yorker too, and there’s this rat he sees so often, he calls him Joe.

Thus, after more than a year of absence from the Hirschfeld Theater, where “Moulin Rouge! was playing and will play, McLane had a nagging fear (sorry): “My fantasy was that maybe rats had eaten parts of the scenery.”

Fortunately, it was not so; when McLane finally returned to check on his work, there was still some confetti on the floor from the last performance 18 months ago, and the whole thing looked just fine.

The Red Mill ! the stage is exuberant red, much of the action takes place in a heart-shaped setting, and there are eye-catching nods to the 19th-century French cabaret it’s set in: a windmill wind, an elephant and, hovering above, a 22-foot-wide two-layered neon sign spelling out the title of the show. The sign is displayed at different heights during the show, rising at the start of the action, guided by a gesture from the handsome hero, Christian.

“It’s fashioned after the original club font from the 1890s, and it’s a font you see in a lot of Toulouse-Lautrec posters,” McLane said. “There’s something fun and theatrical about having this neon sign that acts like a show curtain, and it sort of, in a ridiculous way, conjure up the chandeliers that rise at the Met to start a show.”

The bugle beaded Proud MaryÓ dress by ÒTina Ñ The Tina Turner MusicalÓ at the Lunt-Fontanne Theater in New York, August 17, 2021. Five major shows are returning to Broadway, including ÒThe Phantom of the OperaÓ and ÒMoulin Rouge !, Ó have retuned, restored and restarted their signature effects. (Justin J Wee / The New York Times)

When the stage crew returned to the theater this summer, the neon initially seemed to stop working. “Something happens when it’s not electrified for a while,” McLane said. “But they left him on, and after an hour or two he came back to life.” The rest of the machinery, including the motors that fly in large sets, was also checked.

“Red Mill!” is scheduled to resume performances on September 24. “There is a bit of dusting and vacuuming to be done, but the set is practically ready for the cast,” McLane said. “We’ve all been waiting for this for a long time. “

This article originally appeared in The New York Times.

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Arc de Triomphe monument, artist Christo
Packaging for the Arc de Triomphe begins in an art installation in Paris

Workers crawled around the 50-meter-high 19th-century arch, placing 25,000 square meters of silver-blue recyclable plastic packaging, which will be on view from September 18 to October 3.

Imagined decades ago in 1961 by the late Bulgarian-born artist Christo and his wife and fellow artist Jeanne-Claude, who died in 2009, “L’Arc de Triomphe, Wrapped” was finally brought to life by Christo’s nephew, Vladimir Yavachev at a cost of around 14 million euros ($ 16.54 million).

“The biggest challenge for me is that Christo is not there. I miss his enthusiasm, his criticism, his energy and all of those things. This is really the biggest challenge for me, ”Yavachev told Reuters.

Christo, who spent part of his life in Paris and New York, once rented a small room near the famous avenue des Champs-Elysées after moving to Paris in 1958, when he experimented with packing crates. and barrels thrown with fabric and rope, according to an official website on the artist.

Workers install shimmering packaging to wrap around the Parisian monument, the Arc de Triomphe, in a posthumous installation by artist Christo on the Avenue des Champs Elysées in Paris. (REUTERS / Christian Hartmann)

Christo, whose full name is Christo Javacheff, was known for his larger-than-life installations. He cordoned off part of the Australian coast and the Reichstag parliament building in Berlin, and hung a huge curtain in part of a canyon in Colorado. He worked closely with Jeanne-Claude on the projects.

The pair covered the Pont Neuf de Paris with yellow cloth in 1985. The Arc de Triomphe project, involving the most visited monument in Paris that overlooks one end of the Champs-Elysées, will still allow tourists to visit the site and its panoramic terrace . The monument also houses a tribute to the Unknown Soldier, in the form of a flame of remembrance that is rekindled each day.

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aakriti art gallery
“The pleasure of living with great works of art is incomparable to the simple fact of looking at them in galleries”

The price of art may have become a deterrent for many, but Aakriti Art Gallery promises to offer the works of recognized artists at a price that may be more attractive than standard market rates. After hosting eight editions of the Affordable September Art Mela at the Calcutta Gallery, the establishment is now also focusing on its online edition. “We have the works at the Kolkata gallery, but we have also been more aggressive online and the response has been very good. We see several buyers from Delhi and Mumbai, ”says Vikram Bachhawat, director of the Aakriti art gallery.

On sale, works of over 1,000 works by over 100 artists, with prices ranging from Rs 2,000 to Rs 1 lakh. “The pursuit of possession of great works of art should not be limited to a few- a few. The pleasure of living with and savoring great works of art is incomparable to just looking at them in galleries, ”says Bachhawat. While several works have been shared by the artists themselves, some come from the gallery’s collection. The gallery owner shares how several groups come to the window for a visit. “We run interactive sessions with those interested in the nuances of art,” he says.

While all the works are for sale on the gallery website until September 28, here are 20 works:

Gopal Ghose

Gopal Ghose ink on paper is priced at Rs 65,000

Jayashree Chakravarty

CHAKRAVARTY JAYASHREE The mixed media work of Jayashree Chakravarty Insects – III (2010) is priced at Rs 75,000

Jogen chowdhury

Jogen chowdhury Jogen Chowdhury’s ink and brush on cardboard (2015) are priced at Rs 45,000

Kartick Chandra Pyne

Kartick Chandra Pyne The 2008 watercolor by Kartick Chandra Pyne on handmade paper is priced at Rs 1 lakh

Lalu Prasad Shaw

LALU PRASAD SHAW Lalu Prasad Shaw’s 2021 content on board at a price of Rs 80,000

Lalu Prasad Shaw The 2018 11 x 11 inch acrylic by Lalu Prasad Shaw on sara fiber is priced at Rs 80,000

Pradip Mondal

Pradip Mondal Pradip Mondal’s bronze and steel sculpture is priced at Rs 75,000

Pradip Maitra

Pradip Maitra Pradip Maitra’s 2006 acrylic on canvas is priced at Rs 1 lakh

Rabin World

Rabin World The 2009 acrylic painting by Rabin Mondal on board is priced at Rs 90,000

Rajesh deb

Rajesh deb Rajesh Deb’s 2007 bottle design on canvas is priced at Rs 75,000

Ramesh Tekam

Ramesh Tekam The poster color and pen on paper by artist Gond Ramesh Tekam in 2006 are priced at 2,500 rupees

Sanchayan Gosh

GHOSH SANCHAYAN The 2006 serigraph by Sanchayan Ghosh is priced at Rs 12,000

Shamshad Hussein

SHAMSHAD HOUSAIN Oil on canvas by Shamshad Husain is priced at Rs 65,000

Sudip Roy

Sudip Roy Sudip Roy’s 2014 acrylic on canvas is priced at Rs 50,000

Sunil De

Sunil De The acrylic on canvas by Sunil From 2006 is priced at Rs 75,000

Sunil Das

Sunil Das Oil on canvas by Sunil Das is priced at Rs 80,000

Chandan Roy

Chandan Roy Chandan Roy’s 2020 bronze violin player is priced at Rs 70,000

Prabir Roy

Prabir Roy The Boula – II 2020 by Prabir Roy in bronze is priced at Rs 60,000

Chandra Bhattacharjee

Chandra Bhattacharjee Chandra Bhattacharjee’s 2020 ink on paper is priced at Rs 15,000

Babou Xavier

Babou Xavier

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Vikram Phukan, playwright Vikram Phukan, Vikram Phukan Dry Ice
“The internet is what has brought entire communities of queer people together over the past decade”: Vikram Phukan

“The internet is what has brought entire communities of queer people together over the past decade, to thrive together, as well as to cry together,” says playwright and critic Vikram Phukan. This realization became a trigger for a play when the Indian Foundation for the Arts announced a grant in 2020 as part of its 25X25 initiative to celebrate 25 years of the Internet.

Elaborating on the central idea of ​​his new piece, Dry ice, Phukan says, “More than twenty gay men that I have known, most of them under the age of 40, have passed away in the last few years alone, when I began to take note of the increasing notes of commiseration and condolences online. . This is not a statistic from a survey, but a personal count.

One of the original ideas for the play was to work with members of the queer community.

The reasons for their untimely demise, according to Phukan, are varied. He cites HIV, cancer, a crystal meth overdose, liposuction surgery gone awry, the scourge of suicide, heart attacks and, now, the specter of Covid-19 as some of the causes of these deaths. Some of those who died were close to Phukan. “I wanted to create a piece that would be a tribute to their spirits. Dry ice is fictitious but is inspired by people I knew ”, explains the writer-director.

Dry ice Digital premiere on September 10 at 6 p.m. (with English subtitles) on and will be followed by another show at 9 p.m. (with Hindi subtitles). The pre-recorded piece will have more shows at 6 p.m. with English subtitles on September 11 and 12. The two days, Dry ice the shows will also air at 9 p.m. with Hindi subtitles. The play examines love and loss, grief and mourning in the internet age, through the lens of queer online communities that are brought to resilience and despair in equal measure.

One of the original ideas for the play was to work with members of the queer community. But it would have required a completely different approach and process. “The actors came after limited auditions. I had seen Akash Ghosalkar at a particularly lively performance at the Mumbai drama school, and he struck me as fitting for the role of the radio host who is the play’s de facto narrator, ”says -he.

Vikram Phukan, playwright Vikram Phukan, Vikram Phukan Dry Ice . The play examines love and loss, grief and mourning in the internet age, through the lens of queer online communities that are brought to resilience and despair in equal measure.

The cast also includes Sahir Mehta and Nihir Jain. During rehearsals, the actors interacted on videoconferencing applications. They shot their portions at their respective locations in front of green screens with their phones placed on tripods. This was followed by a month’s post-production work.

While the restrictions imposed during the pandemic affected everyone, members of the queer community had additional pressure to deal with. “Home, which is a sanctuary for many, could be a place where self-expression is held back. The pandemic has denied many access to their physical hiding places and comfort spaces. The Internet, with its constant toxicity, cannot provide an alternative to the joys of the physical congregation, ”explains Phukan, who created the Jil Jil Ramamani theater.

Tickets for the show Dry ice are available at

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