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rmfantasysetpieces1 · 2 years ago

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A general view of the Stade de France prior to the 2022 Champions League final between Liverpool and Real Madrid. Harry Langer/vi/DeFodi Images via Getty Images

PSG to submit bid for Stade de France as alternative to Parc des Princes home

Paris Saint-Germain will submit a bid for the country's largest stadium, the Stade de France, the Ligue 1 champions said on Friday as they look to move from their Parc des Princes home.

Paris mayor Anne Hidalgo said the Parc des Princes was not for sale which prompted PSG to say in January that they would explore "alternative options" for their home stadium.

The Stade de France hosted the soccer World Cup final in 1998 and three Champions League finals since 2000, including last year's showpiece in which Real Madrid beat Liverpool.

The stadium has a capacity of around 80,000.

A PSG spokesperson told Reuters the capital club will submit a bid for the Stade de France but added that their preferred option remains a 'renovated' Parc des Princes.

The Parc des Princes, owned by the Paris city council, has been PSG's home since they entered the top-flight in 1974.

In 2013, PSG reached an agreement with the Paris City Council to extend their lease until 2043, following which they completed a €75 million ($79.89 million) upgrade of the stadium over three years.

The Ligue 1 side also announced their intent to commit an additional €500 million towards the Parc des Princes' renovations, but only if they owned the stadium.

French media reported that PSG put forward an offer to buy the Parc des Princes in November last year but PSG president Nasser Al-Khelaifi said in an interview with Marca that the club did not feel welcome at the stadium.

The lease for the Stade de France is held by a consortium of the French companies Vinci and Bouygues with any buyout of the stadium set to take place after 2025.

The arena opened its doors in 1998 and was the venue of the World Cup final that year, won by the hosts. It will also stage track and field events at the Summer Olympics in 2024.

Last season's Champions League final was delayed after thousands of Liverpool supporters were unable to get into the Stade de France for the match on May 28, which Real won 1-0.

French police were filmed using tear gas on fans, including women and children. UEFA initially blamed the Merseyside club's supporters for the mayhem, but the European governing body later apologised following the release of an independent review.

The spokesperson added that a third option for PSG would be to build a new stadium located outside Paris.

PSG have been the most successful club in France since Qatar Sports Investments took over in 2011, winning the league eight times. They have also had success in France's domestic cup competitions, but have failed to win the Champions League.

https://global.espn.com/football/paris-saint-germain--frapsg/story/4897426/psg-to-submit-bid-for-stade-de-france-as-alternative-to-parc-des-princes

#RMSoccer

IN AMENDMENT

I think PSG monetarily is fine. AL Khaleefi has agreed to a no bling bling transfer model with luis campos but psg has so much bling now, just stay the course and it will be well

#rmsoccer #psg #qsi #money #noproblems

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newcapitalproperty · 3 years ago

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blueiscoool · 4 years ago

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The 500-year-old stolen copy of Leonardo da Vinci's 'Salvator Mundi' recovered

A 16th-century copy of Leonardo da Vinci's "Salvator Mundi," the world's most expensive painting, has been recovered by Italian police after it was stolen from a museum in Naples.

The artwork, which was likely painted by one of the Renaissance master's students, was discovered at an apartment during a search in the Italian city, according to a police statement. The property's 36-year-old owner was found nearby and taken into custody on suspicion of receiving stolen goods.

The portrait was modeled on Leonardo's famed depiction of Christ with one hand raised in blessing and the other holding a crystal orb. Numerous copies of the work were made during the artist's lifetime by his students and assistants.

Although it is not known who created this particular "Salvator Mundi," it is thought to have been painted towards the end of the 1510s by someone from the artist's workshop. The portrait's owner, the Museum of San Domenico Maggiore in Naples, said on its website that there are "several hypotheses" about the painter's identity, with the "most convincing" theory crediting Leonardo's student Girolamo Alibrandi.

It is believed that the painting was created in Rome before being brought to Naples by Giovanni Antonio Muscettola, an envoy and advisor to the Holy Roman Emperor, Charles V.

The artwork briefly returned to the Italian capital in 2019, when it was loaned to the Villa Farnesina for its exhibition "Leonardo in Rome." The exhibition brochure described it as a "magnificent" copy of the artist's masterpiece. The San Domenico Maggiore's online listing meanwhile described the work as a "refined" and "well preserved" pictorial draft.

Police did not specify when the painting had been stolen, though the Naples museum reported being in possession of the work as recently as January 2020, when it was returned from Rome.

Leonardo's original "Salvator Mundi" made history in 2017 when it sold for $450.3 million at Christie's in New York. Once dismissed as a copy, it sold in the UK for just £45 ($61) in the 1950s.

While some scholars have disputed the attribution to Leonardo, suggesting it was at least partly created by members of his workshop, the painting was restored and authenticated before becoming the most expensive artwork ever to sell at auction. It is widely thought that the record-breaking bid was made on behalf of Saudi Arabia's Crown Prince Mohammed Bin Salman.

The "Salvator Mundi" has not, however, been seen in public since the November 2017 sale. After the Louvre Abu Dhabi announced that it would show the painting, it postponed the grand unveiling in 2018 without explanation.

#The 500-year-old stolen copy of Leonardo da Vinci's 'Salvator Mundi' recovered #art #art work #art news #painting #history #history news

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letsjanukhan · 3 years ago

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'Lost Leonardo' unpeels the mysteries of the Salvator Mundi

‘Lost Leonardo’ unpeels the mysteries of the Salvator Mundi

NEW YORK — We’re accustomed to movies — usually adventures, like “Indiana Jones” — with lines that traverse the globe and pinball between global capitals, showing us where our characters are traveling. “The Lost Leonardo,” a documentary about the rediscovery of a Leonardo da Vinci painting, begins with such a line. But its international stops, chronicling the painting’s sales, are baffling…

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96thdayofrage · 3 years ago

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Chris Hedges: The Forged Gospel of Jesus’ Wife

Ariel Sabar masterfully dissects the dishonesty and narcissism inherent in nearly all Christian theological work in his book Veritas: A Harvard Professor, A Con Man and the Gospel of Jesus’s Wife.

No historical figure has been as manipulated, distorted and used for nefarious and self-serving ends as egregiously as Jesus Christ. Jesus has been trotted out over the past two millennia to justify a litany of evils including the Crusades, the Inquisition, the European conquest and genocide of the native peoples of the Americas, Puritan witch trials and the burning of heretics, slavery, the subjugation of women, the persecution of homosexuals, and, in the latest iteration, the endless wars in the Middle East.

Since there is so little known historically about Jesus, he is infinitely malleable. Every generation, and every brand of Christianity, has, for this reason, produced a Jesus in its own image. When I was a student at Harvard Divinity School, we read the German theologian Rudolf Bultmann, who, heavily influenced by Martin Heidegger, was an existentialist, and who, of course, turned Jesus into an existentialist.

The liberal church is as infected with this disease as right-wing Christians who have twisted Jesus into a Rambo-like white, male messiah for American capitalism, American imperialism, white supremacy and patriarchy. And it is this dishonesty and narcissism, inherent in nearly all Christian theological work, that Ariel Sabar masterfully dissects in his book Veritas: A Harvard Professor, A Con Man and the Gospel of Jesus’s Wife.

Karen King, a professor at Harvard Divinity School, made a startling announcement in September 2012 at a conference in Rome. She had obtained, she told the gathering, a second-century papyrus fragment with a text suggesting that Jesus was married to Mary Magdalene and that she was considered one of the disciples.

King called the fragment, the size of a business card, “The Gospel of Jesus’s Wife,” a clever marketing ploy, especially since it was impossible to know where the text, which turned out to be a crude forgery, came from. Even if it was real, it could have been nothing more than a tiny scrap of paper rolled up and worn in an amulet. But King, if nothing else, was media savvy, and “The Gospel of Jesus’s Wife” catapulted her “discovery” to international fame.

She had already gotten a taste of popular acclaim, hitching herself to Dan Brown’s 2003 novel The Da Vinci Code, which was to Biblical scholarship what Raiders of the Lost Ark was to archeology. In the novel Brown makes Mary Magdalene the wife of Jesus, pregnant with Christ’s child when he was crucified. The Da Vinci Code was only a few degrees separated from the claims made by scholars like King, who published her book The Gospel of Mary Magdala: Jesus and the First Woman Apostle the same year as Brown’s novel.

She instantly became a ubiquitous media presence, defending the novel despite its numerous Biblical and historical inaccuracies. “She appeared in cover stories about the book in Time, Newsweek and U.S. News & World Report and became a regular on Code-themed TV specials, on ABC’s Primetime, NBC’s Dateline and CNN Presents,” Sabar writes in Veritas.

In some of these media appearances she was joined by Brown. In the movie version, starring Tom Hanks, King is listed as a “consultant.” The novel transformed King from “a scholar whose intellectual passions had been confined to classrooms, academic tracts and the occasional church into a best-selling author with live audiences of hundreds and a television viewership of millions.” The Gospel of Jesus’s Wife returned her to the epicenter of popular culture and the mass media.

Mary Magdalene’s Role

King has spent her career championing the idea that Mary Magdalene and women in the early church played a prominent role in Jesus’ ministry. She is a scholar of gnostic texts, texts from the second to fourth centuries that did not make it into the church-approved canon. The Gnostics were condemned as heretics by the early church and their writings were banned.

The Gnostics believed that an elect group of believers, themselves, had been given a secret knowledge — the Greek word gnosis means knowledge of spiritual mysteries — about the divine status of human beings that was obscured by the Old Testament and revealed to them by Jesus, who was regarded as an illuminator rather than the resurrected savior.

The Gnostics were, as Sabar writes, “socially estranged, more open to women, less violent, more centered on the self,” a belief system that catered to the inwardly-focused zeitgeist of America’s consumer society. It appears from the fragments of the Gnostic texts that the sect included female leadership, something King explored, although often through very liberal interpretation, in The Gospel of Mary Magdala: Jesus and the First Woman Apostle.

King, as Sabar writes,

“placed a heavy burden on the Gospel of Mary. It didn’t matter that more than half of its pages were missing, obscuring its ultimate meanings. It didn’t matter that most scholars saw it as too late to compete with the canon. King, who titled her book The Gospel of Mary Magdala, even though the gospel nowhere identifies its ‘Mary’ as Magdalene, wanted the text to say things — and be things — that the available facts didn’t always support. In many fields, an incomplete one-of-a-kind data point might deter a scholar from making sweeping generalizations. But King went in precisely the opposite direction. She not only built ‘the history of Christianity’ atop the discontinuous surviving nine pages of a single text; she called its portrait of the faith’s first centuries ‘in a number of respects more historically accurate than that of the master story.”

From the beginning King obscured the origins of the fragment. She refused to disclose the identity of the donor. She did not show the scholars at the conference in Rome photographs of the text, as is customary in academic conferences.

She worked with the Smithsonian Channel to produce a documentary before the papyrus was analyzed and vetted. She eventually turned to close friends who lacked expertise to test the papyrus and authenticate the text. She openly dismissed the need for scientific testing, telling Sabar that chemical tests were “not usually done and not relevant.” Carbon dating, she said, “was too imprecise” and multispectral analysis — the imaging technique that can help identify erased or overwritten text — “wasn’t going to show anything.”

Rivaled by Christian Right

Her disdain for science and fact is only rivaled by the Christian right, which has also fallen prey to forgers. The billionaire evangelical owners of the Hobby Lobby, for example, have spent millions buying up Biblical artifacts to prove “the absolute authority and reliability of the Bible.” It is the flip side of King’s interpretation of the Bible. They were duped into buying fake Dead Sea Scroll fragments and a forged text, supposedly from Leviticus, condemning homosexuality.

When King’s claims were peer reviewed by two expert Coptic papyrologists in the Harvard Theological Review, they warned that the fragment was probably a fake. King used her clout with the publication to publish her findings without their critiques, leaning instead on one positive review by a friend who did not specialize in early Coptic Christian literature. Harvard University and The Harvard Theological Review, it turned out, were not immune to the media frenzy and the obfuscations needed to perpetuate it.

Sabar’s dogged reporting uncovered not only King’s numerous schemes to pass the forgery off as real, but the identity of the forger, a German expatriate living in Florida named Walter Fritz who had a fake Egyptology degree, was a former director of the Stasi Museum in East Germany, and produced online pornographic videos of his wife having sex with multiple other men. The tissue of lies and deceit, from the hands of the forger up the chain to King and Harvard Divinity School, is staggering.

Perhaps most disturbing is King’s apparent indifference to the truth, even once the text was unmasked as a forgery. She told Sabar she was “not particularly” interested in what he had uncovered, and that she did not realize that an object’s past could be studied.

“How could a historian, one at Harvard no less, have failed to see provenance as a subject to investigation?” Sabar asks. “Provenance, after all, was nothing more than history — King’s own scholarly discipline.”

King, like many academics, is infected with the disease of postmodernism. To them, there is no discernable, objective truth. Truth is a language game. It is determined by those who tell the best story. History is, they argue, a form of fiction. Facts, along with linear time, do not matter as long as the story told feels true and relevant.

History, King writes, “is not about truth but about power relations.” She argues that historians must abandon “the association between truth and chronology.” She calls for “reconceptualizing the Western construction of time” and sees history as “discontinuous and unpatterned.”

History, she writes, “is not serious, real or true.” History, she insists, is about “enlarging one’s imaginative universe” and never saying “no to a story, a song, a poem that gives life, heartens, teaches, or consoles, and need never fail to call it true.” She calls facts “little tyrannies.” Those bound by facts, she writes, are constricted by “fact fundamentalism.” She even concedes that Jesus’ marital status is finally unknowable, but also says this is irrelevant. As Sabar points out about King and the postmodernists, “a thing is true not if it is real; it is true if — in King’s estimation — it was a moral good.”

“In this view, every historical account — every piece of writing, for that matter — was a kind of stealthy sales pitch, a self-serving tale that promoted the interests of a particular individual or group,” Sabar writes. “The same held for reading. Whether Mary Magdalene was a prostitute or an apostle, for instance, turned less on ‘what happened’ than on which camp — pro-sinner or pro-saint — best publicized its interpretation.”

Sabar hits on something very important, the corruption and dishonesty of postmodern scholarship, the deforming of fact and history to serve ideologies and beliefs. King is a product of a collective of liberal, postmodern theologians known as the Jesus Seminar, which routinely sacrificed serious scholarship to advance a liberal interpretation of the Christian gospels, making them no different from the owners of the Hobby Lobby.

The group dismisses most of the sayings of Jesus in the Gospels as invented, writes off the entire Gospel of John as fiction and does not believe in miracles or the resurrection. But to advance the cause of feminism, it twisted itself into contortions to assert that the scene at the end of the Gospel of John, where Mary witnesses the resurrected Jesus, is a real-life version of an actual historical event.

“A group that set out to tell the public what Jesus really said and did had decided that a vision in a book it called false could be the basis for the reality of Magdalene’s witness to a resurrection that never happened,” Sabar writes.

A society that severs itself from discourse rooted in verifiable fact commits moral and intellectual suicide. Facts become indistinguishable from opinions. This war on truth, on science and on fact, whether from the liberal postmodern elites or the right-wing Christian fascists, widens the social divides. Believers on each side of the divide can no longer communicate.

A culture that disdains truth and fact rapidly calcifies and dies. It bifurcates, as I saw in the former Yugoslavia, into antagonistic warring tribes. This severance from reality fuels hate and finally violence. Competing demographics expend their energy demonizing the other.

This is the most important lesson in Sabar’s meticulous study of the dishonesty and moral corruption that is eating away at the heart of America. That this story was set at Harvard Divinity School is not surprising to those of us who have watched the liberal church fold in on itself and orchestrate its own irrelevance. It would be comforting if King was an anomaly. Unfortunately, she is not.

Chris Hedges is a Pulitzer Prize–winning journalist who was a foreign correspondent for 15 years for The New York Times, where he served as the Middle East bureau chief and Balkan bureau chief for the paper. He previously worked overseas for The Dallas Morning News, The Christian Science Monitor and NPR. He is the host of the Emmy Award-nominated RT America show “On Contact.”

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xtruss · 3 years ago

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Jean-Michel Basquiat’s ‘Warrior’ was part of Christie’s Hong Kong live-stream sale in March. ChRistie's Images Ltd.

Christie’s Sells $3.5 Billion of Art in First Half of 2021

After a rocky year due to the pandemic, collectors are back to bingeing on art. “We’re seeing a very strong rebound,” said Christie’s CEO Guillaume Cerutti.

After a turbulent year, Christie’s said Tuesday that millennials in Asia and cryptocurrency collectors are splurging on blue-chip art, bidding up everything from jewelry to Jean-Michel Basquiat.

Christie’s sold $3.5 billion of art during the first half of the year, up 75% from the first seven months last year when the pandemic upended its entire calendar and compelled the London-based house to delay its marquee May series to midsummer.

“We’re seeing a very strong rebound,” said Chief Executive Guillaume Cerutti, adding that 87% of its offerings found buyers during the first half of the year.

The total includes $2.7 billion in art sold online and during live-streamed auctions as well as $850 million in privately brokered art sales. The house also appears close to recapturing its pre-pandemic momentum, with its latest auction total falling just shy of the $2.8 billion in art it auctioned off during the first half of 2019. Private sales have already surpassed pre-pandemic levels, the house said.

A $29.3 million Sakura diamond was one of the big-ticket objects won by Asian bidders. Photo: Christie’s Images Ltd.

Rival Sotheby’s declined to comment on its sales, but a recent report from auction research firm ArtTactic said it found the house had auctioned roughly $2.8 billion in art during the first half. Phillips said it would release its sales figures later this month. The same ArtTactic report estimated the boutique auctioneer auctioned off around $425 million in art.

From Beijing to Bangkok, Christie’s largely credited Asian millennials for propelling the global art turnaround, with Asian bidders spending more than $1 billion to win 39% of Christie’s auction and online offerings overall—particularly in coveted segments like contemporary art, Asian art and luxury goods such as watches, handbags and jewelry. Nearly half of the house’s $356 million in those luxury goods went to Asian buyers, the house said. The house’s Hong Kong-based sales totaled $495 million during the first half, up 40% from last year.

The season’s priciest work was Pablo Picasso’s $103.4 million ‘Woman Seated Near a Window (Marie-Thérèse).’ Photo: Christie's Images Ltd

Asian bidders took home some of the season’s big-ticket objects, including a $29.3 million Sakura diamond and a $41.7 million Basquiat from 1982, “Warrior.” The house slotted the Basquiat into its Hong Kong live-stream sale in March rather than save it for its higher-profile spring series in New York.

Alex Rotter, Christie’s chairman of 20th and 21st century art, said the house “recognizes the surge” of interest from newly wealthy Asians and plans to sell more of its Western icons in Hong Kong—even if it continues to field most of its bids over the phone or online. “We’re trying to cater to Asian audiences,” he said.

Asian bidders also competed for some of the season’s other top-selling works, including the season’s priciest work, Pablo Picasso’s $103.4 million “Woman Seated Near a Window (Marie-Thérèse),” which nearly doubled its $55 million estimate following a 19-minute bidding war. Its buyer remains anonymous.

During the first half, Christie’s also helped usher in a global rush to collect digital art that carries nonfungible tokens, or NFTs, when it sold Beeple’s NFT piece, “Everydays: The First 5000 Days,” for $69 million in March. These tokens amount to digital certificates of authenticity that allow for the trading and tracking of digital works that exist only on screens.

On Tuesday, Christie’s said that during the first half, it sold $93.2 million in NFT art, 85% of which was paid using cryptocurrency. NFT art sales have put an additional 400 collectors on its radar, and they are younger than traditional collectors, the house said. Collectors signing up to bid for NFT art average 38 years old, 13 years younger than the average age of clients who vie for other selling categories, the house said.

Christie’s first-half sales included $12.2 million for a 3-inch Leonardo da Vinci drawing of a ‘Head of a Bear.’ Photo: Christie’s Images Ltd.

Other notable sales during the first half included $12.2 million for a 3-inch Leonardo da Vinci drawing of a “Head of a Bear” and $10.8 million for Michel Périnet’s mask from Micronesia, which set a record in June for an Oceanic work of art.

Looking ahead, Mr. Cerutti said Christie’s aims to capitalize on every growth area in its sights, from expanding its offices in Jakarta and Bangkok to adding NFT art sales. But his team is also reconfiguring its salesroom in New York to allow for the eventual return of collectors to bid traditionally—in person. “We’re missing the emotion we get from a winning bidder in the room,” Mr. Cerutti said. “Digitally, we’ve adapted, but we also want clients in the room, where they belong.”

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copperbadge · 7 years ago

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Sam, what do you think of the recent discovery/restoration/sale of what is purportedly Leonardo's Salvator Mundi? Am I the only one picturing Neal Caffrey solemnly applauding either the scam or the reality?

I have a lot of conflicted feelings about it. I think it’s a really interesting painting regardless of who painted it, and from what I’ve seen there is very little dissent in the artistic community about it being the work of Leonardo da Vinci -- it’s a known work that was lost, so it’s not like Van Meegeren where he was just straight-up painting “new” Vermeers and then “discovering” them in a barn somewhere. So in that sense I’m pleased it’s been recovered and restored and there’s plenty of very specific evidence to indicate it’s not a forgery. And of course in this day and age, recovering and restoring a work like Salvator Mundi means that its image will appear online everywhere, making at least the imagery if not the physicality of the painting available to the world.

There’s a lot to talk about it in terms of setting a new record for purchase price at auction. I don’t think it’s $450M worth of interesting, to be honest, but they’re not paying for art quality, they’re paying for the story of the art -- who previously owned it, how it was rediscovered, et cetera. As with most high-value art, the art is not what’s being judged, but rather the prestige and reputation of the individual piece. Though because at the upper ecehlons of wealth money is really just a way to keep score, you’re likely to see a lot of really high bids at auction in the next year, because now Salvator Mundi is arguably the most valuable painting in the world based on auction price, and someone else is going to want to pay more than $450M so that they can own the most valuable painting in the world. (Eat the rich.)

So what we may see in the next year or two, as a direct result of this sale, is a huge bubble-burst in the art market -- look for one or two other high-end art purchases, maybe even a record-breaker, followed by reports of a collapse in the valuation of high-end art in about twelve to eighteen months. This is a guess, but I think it’s a fair one.

On the other hand, the previous “most valuable” painting in the world by hammer price was a hideous de Kooning owned by Ken Griffin, who I have no high opinion of. He paid $300M for it and breaking his record by a hundred and fifty million dollars was definitely some kind of power move. I feel like anyone who has successfully stomped Crazy Eyes Griffin's ego has done the world a favor.

As an added “Neal Caffrey bonus”, given Salvator Mundi’s story, in the next few years we may also be treated to the sight of the mega-wealthy desperately wanting a painting as interesting as Salvator Mundi and thus being much more gullible than usual about the art they buy. So we may get a spectacular story sooner or later of a kajillionaire hedge fund manager buying a painting worth roughly $10.99 for half a billion dollars because the story attached to the painting was just too good.

If I were an art forger, the Salvator Mundi sale would have been the “what can I forge and then discover in a barn” starting pistol. Someone out there is breathing heavily over the idea of paying $500M for a painting and I would be happy to give them that moment of transcendental capitalism.

Unfortunately I cannot paint.

#art #art history #salvator mundi #Anonymous

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marketgrowthstrategy · 4 years ago

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Modular Fabrication Market Size Analysis, Segmentation, Industry Outlook, and Forecasts, 2020-2027

The latest study by Reports and Data, called “Global Modular Fabrication Market Forecast to 2027,” lists some of the primary growth potentials of the global Modular Fabrication industry. The primary target of this report is to help industry stakeholders capitalize on its highly informative content to make improved business decisions. The insightful data provided by the report are gathered from several primary and secondary resources. Moreover, the report is intended to help readers gain actionable insights into the global Modular Fabrication market and the prevailing growth opportunities and trends in particular.

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The leading contenders in the global Modular Fabrication market are:

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architectnews · 4 years ago

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Maximo Shopping Center Roma

Aura Valle Aurelia Roma, Italian Capital Shopping Center, Retail Italy, Interior Photos

Maximo Rome Shopping Centre

Centro Commerciale: New Italian Retail Architecture by Design International

30 Nov 2020

Maximo Shopping Center Rome

Architects: Design International

Address: Via Laurentina, 865, 00143 Roma RM, Italy

Phone: +39 06 6934 5797

Photos by Paolo Cammillucci

English text (scroll down for Italian):

Maximo Shopping Center in Rome

3C + t Capolei Cavalli and Design International celebrate the opening of Maximo Shopping Center Rome

Rome, 30 November 2020 – MAXIMO, the brand new destination dedicated to Rome and its surroundings for shopping and leisure, has been inaugurated.

Maximo presents itself as a real “destination” for shopping, leisure and socializing, with the ability to attract a large catchment area estimated at 3.5 million inhabitants in the 40-minute journey. With over 65,000 square meters of GLA distributed over three levels and 160 points of sale, including shops, restaurants and activities related to entertainment. UCI Luxe, a cinema with seven screens and 550 seats, McFit, Joy Village with bowling halls, billiards and gaming arena which, in the desired post-covid, will remain open to the public until two in the morning.

In the shopping center there is also the Cà Zampa veterinary clinic, where it is also possible to make toilets for dogs. Inside the Maximo there are also 38 restaurants with a path dedicated to street food, bars, cafes, wine bars, 17 craft businesses and the renowned Primark store, often featured in the projects signed by Design International.

The large open square overlooked by the restaurant will not only lend itself to hosting cultural, recreational and commercial events – on a total area of over 10,000 square meters – but will represent a real meeting and junction point between Maximo and the neighborhood. Laurentino in the south east quadrant of Rome.

Design International began working on Maximo in 2007, the year in which the group, after consolidating the European market from its London office, opened the Milanese studio a stone’s throw from the Duomo. Arch. Roberto Sibiano, followed the development of important Italian projects from Milan, including the Campania Shopping Center, MAXIMO, Nave de Vero, Centro Sicilia, La Cartiera, and more recently Il Centro di Arese, the da Vinci Retail Park and Hubtown at the Fiumicino airport, to name a few.

However, the path to get to the cutting of the Maximo ribbon was anything but linear. From the early stages, Design International collaborated with the architect Fabrizio Capolei of Studio Romano 3C + t Capolei Cavalli Architetti Associati and, as always happens between professionals, the meeting was immediately fruitful.

From the very first sketches and ideas, the architectural firms involved shared the fundamental pillars on which to base the project: natural light, great visibility of the windows, a complex and enveloping internal space. Everything has been imagined and designed always starting from the visitor’s experience, according to a scale of values that puts man at the center, surrounding him with visual fires (the windows) in a perspective sequence, creating the maximum contrast between full and empty spaces, thanks to the texture of skylights that bathe the space with natural light.

Architects discard a self-referential architecture, on the contrary they make it social because it belongs to the community and generates that sense of meeting, defined by Davide Padoa, CEO of Design International, as “people building & meeting place”, a place for social enrichment, sharing and the growth of common sense.

The fall of Lehman Brothers in 2008, the rise of e-commerce and the most recent perfect storm caused by the 2020 pandemic were not enough to block the birth of Maximo, a “resilient” project that was able to withstand the challenges of the market and adapt to a world in constant radical change.

Maximo Shopping Center Roma – Building Information

CREDITS: Ownership: Parsec 6 s.p.a. Project manager: Luca Mangani, Roberto Zandonella

Urban and architectural project: 3C + t Capolei Cavalli a.a. Fabrizio Capolei Antonio Molinari

Interior design: 3C + t Capolei Cavalli a.a. Design International Roberto Sibiano and Davide Padoa

Works direction: Michele Dal Prato

Artistic direction: Fabrizio Capolei

Works Manager and High Surveillance: Mariano Galante

Supervision and coordination: Elisabetta Mapelli Stefano De Leo

Property manager e Marketing strategy: Francesco Sirello

Breeam Certification: Deerns Consulting Engineers

Structures: Studio Agamemnon and Cera

Plant project: Enetec s.r.l. _ Studio Mattiucci Beta Progetti _ Cefla Soc. Coop.

Road project: I.T. s.r.l. _ Sonia Briglia

Vv.ff.project: Studio Nozzi _ Cecilia de Bartolomeo

Light design: Beta Progetti _ Light and Design

Cse / Rspp: Studio Leoni

Technical Area: Francesco di Carlo Roberto Ceccarelli Costantino Rasori R.u.p. Public works: Giovanni Genga Biagio Avolio Companies involved:

Civil works: Colombo Costruzioni S.P.A. Coiver Contract / Centro / Sign & Color S.r.l. Imprecom s.r.l.

Prefabricated Structures and Panels: General prefabricated s.p.a.

steel structures: Naldi Carpenterie_AGV metallica

special mechanical electrical systems: Cefla Soc. Coop – Panzeri s.p.a.

lifts: Schindler S.p.a.

Lighting: Lucifero’s _Bega _ IVela

Doors and windows: 3EmmeGi_Schucko_ Stahlbau Pichler

Titanium Zinc coatings and mesh: Stahlbau Pichler Global Construction s.r.l. Agv Metallica

Floors: Mirage Spa _ Porcelaingres GmbH

Furniture contract: Coiver Sign & Color s.r.l._ Ferlegno s.r.l. Fi.ma s.r.l.

Photographs by Paolo Cammillucci

Italian text:

Maximo Shopping Centre Roma, Italia

3C+t Capolei Cavalli e Design International celebrano l’apertura di Maximo Shopping Centre Roma

Roma, 30 novembre 2020 – È stato inaugurato MAXIMO, la nuovissima destination dedicata a Roma e dintorni per lo shopping e il tempo libero.

Maximo si presenta come una vera e propria “destination” per gli acquisti, per il tempo libero e la socialità, con la capacità di attrarre un ampio bacino di utenza stimato in 3,5 milioni di abitanti nei 40 minuti di percorrenza. Con oltre 65.000 mq di GLA distribuiti su tre livelli e 160 punti di vendita, tra negozi, ristoranti e attivitá legate all’intrattenimento.

UCI Luxe, un cinema con sette sale e 550 posti, McFit, Joy Village con sale bowling, biliardi e gaming arena che, nell’auspicato post-covid, rimarranno aperti al pubblico fino alle due di notte. Nel centro commerciale è presente anche la clinica veterinaria Cà Zampa, dov’è possibile effettuare anche toilette per cani. All’interno del Maximo sono presenti inoltre 38 ristoranti con un percorso dedicato allo street food, bar, caffetterie, wine-bar, 17 attività artigianali e il rinomato store Primark, spesso presente nei progetti firmati da Design International.

La grande piazza aperta su cui si affaccia la ristorazione non solo si presterà a ospitare eventi culturali, ricreativi e commerciali – su una superficie complessiva di oltre 10.000 mq – ma rappresenterà un vero e proprio punto d’incontro e di congiunzione tra Maximo e il quartiere Laurentino nel quadrante sud est di Roma.

Design International ha iniziato a lavorare su Maximo nel 2007, anno in cui il gruppo, dopo aver consolidato il mercato Europeo dalla sede di Londra, apriva lo studio milanese a due passi dal Duomo. L’Arch. Roberto Sibiano, ha seguito da Milano lo sviluppo di importanti progetti italiani, tra cui il Centro Commerciale Campania, MAXIMO, Nave de Vero, Centro Sicilia, La Cartiera, e più recentemente Il Centro di Arese, il da Vinci Retail Park e Hubtown presso l’aeroporto di Fiumicino, per citarne alcuni.

Il percorso per arrivare al taglio del nastro di Maximo è stato però tutt’altro che lineare. Fin dalle prime fasi Design International ha collaborato con l’architetto Fabrizio Capolei dello Studio Romano 3C+t Capolei Cavalli Architetti Associati e, come sempre accade tra professionisti, l’incontro è stato da subito fecondo. Già dai primi schizzi e idee gli studi di architettura coinvolti hanno condiviso i pilastri fondamentali su cui basare il progetto: luce naturale, grande visibilità delle vetrine, una spazialità interna complessa e avvolgente.

Tutto è stato immaginato e disegnato partendo sempre dall’esperienza del visitatore, secondo una scala di valori che mette l’uomo al centro, circondandolo di fuochi visivi (le vetrine) in sequenza prospettica, creando il massimo contrasto tra pieni e vuoti, grazie alla tessitura dei lucernari che immergono di luce naturale lo spazio. Gli architetti scartano un’architettura autoreferenziale, al contrario la rendono sociale poiché appartiene alla comunità e genera quel senso di ritrovo, definito da Davide Padoa, CEO di Design International, come “people building & meeting place”, un luogo per l’arricchimento sociale, la condivisione e la crescita del senso comune.

La caduta di Lehman Brothers del 2008, l’ascesa dell’e-commerce e la più recente tempesta perfetta causata dalla pandemia del 2020 non sono bastati a bloccare la nascita di Maximo, un progetto “resiliente” che ha saputo reggere le sfide del mercato e adattarsi a un mondo in costante a radicale cambiamento.

CREDITS:

Proprietà: Parsec 6 s.p.a. Project manager: Luca Mangani, Roberto Zandonella

Progetto urbanistico e architettonico: 3C+t Capolei Cavalli a.a. Fabrizio Capolei Antonio Molinari

Interior design: 3C+t Capolei Cavalli a.a. Design International Roberto Sibiano e Davide Padoa

Direzione lavori: Michele Dal Prato

Direzione artistica: Fabrizio Capolei

Responsabile Lavori e Alta Sorveglianza: Mariano Galante

Supervisione e coordinamento: Elisabetta Mapelli Stefano De Leo

Property manager e Marketing strategy: Francesco Sirello

Certificazione Breeam: Deerns Consulting Engineers

Strutture: Studio Agamennone e Cera

Progetto impianti: Enetec s.r.l. _ Studio Mattiucci Beta Progetti _ Cefla Soc. Coop.

Progetto viabilità: I.T. s.r.l. _ Sonia Briglia

Progetto vv.ff.: Studio Nozzi _ Cecilia de Bartolomeo

Light design: Beta Progetti _ Luce e Design

Cse/Rspp: Studio Leoni

Area Tecnica: Francesco di Carlo Roberto Ceccarelli Costantino Rasori R.u.p. Opere pubbliche: Giovanni Genga Biagio Avolio Imprese coinvolte:

Opere civili: Colombo Costruzioni S.P.A. Coiver Contract/Centro/Sign&Color S.r.l. Imprecom s.r.l.

Strutture e Pannelli Prefabbricati: Generale prefabbricati s.p.a.

strutture in acciaio: Naldi Carpenterie_AGV metallica

impianti elettrici meccanici speciali: Cefla Soc. Coop.- Panzeri s.p.a.

impianti risalita: Schindler S.p.a.

Illuminazione: Lucifero’s _Bega _ IVela

Serramenti: 3EmmeGi_Schucko_ Stahlbau Pichler

Rivestimenti in Zinco Titanio e rete: Stahlbau Pichler Global Construction s.r.l. Agv Metallica

Pavimenti:Mirage Spa _ Porcelaingres GmbH

Contract arredo: Coiver Sign&Color s.r.l._ Ferlegno s.r.l. Fi.ma s.r.l.

Aura Valle Aurelia Rome Shopping Centre images / information received 301120 from Design International

Location: Via Laurentina, 865, 00143 Roma, Italy

Rome Shopping Centres

Contemporary Rome Shopping Centre Architecture

Aura Valle Aurelia Rome Shopping Centre Architects: Design International image courtesy of architects Aura Valle Aurelia Rome Shopping Centre

Olgiata Shopping Plaza, Via Cassia, Design: LAD (Laboratorio di Architettura e Design) Olgiata Shopping Plaza Rome Building

Buildings in Rome

Contemporary Rome Architecture

Rome Architecture Designs – chronological list

Hawkers Rome Store, near Plaza de España Architects: CuldeSac photograph : Luigi Filetici Hawkers Rome Store

Rome Architectural News

Rome Architecture Walking Tours – walking tour guides by e-architect

City of Sun, near Via della Lega Lombarda & Tiburtina Station, East Rome Architects: Labics photograph : Marco Cappelletti City of Sun in Rome

BNL-BNP Paribas Real Estate Group Headquarters, Tiburtina Design: 5+1AA Alfonso Femia Gianluca Peluffo architectures, Italy photo © Luc Boegly BNL-BNP Paribas Group HQ in Rome

Stadio Flaminio – Grant Design: Pier Luigi Nervi photograph © Oscar Savio. Courtesy Pier Luigi Nervi Project Association, Brussels Stadio Flaminio Rome Building

Rome buildings : Contemporary architecture

Comments for the Aura Valle Aurelia Rome Shopping Centre page welcome

Website: Aura Valle Aurelia Rome Shopping Centre

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cryptooof-blog · 5 years ago

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According to a filing it has been shown that, Da Vinci Capital, which is an investment firm focused on gaining substantial minority ownership in microCap public companies in selected technology sectors, and another entity called Gem Limited requested commissions of $209,783 and $1.1 million respectively to Telegram for subsequent sales of purchase agreements for grams, the representative cryptocurrency of the TON Blockchain. These two entities invoiced Telegram for commissions from selling the company’s tokens in the summer of 2018, months after the company’s initial coin offering (ICO). Read the Full News

#ton #telegram #telegram coin #crypto #bitcoin

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babssmithart · 7 years ago

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In this Blog I will consider what we mean by the word art, when art was invented and how our understanding of it has changed. I will look at the fact that art/representations are not produced in a cultural vacuum, that they express the ideas and beliefs of the age.

When was art invented raises questions about the reference to art and what it means. If we look at one of the earliest forms of art The Venus of Willendorf a limestone figurine thought to be dated 28,000 BCE we can clearly see that this strong figure with swollen breasts and broad hips represents fertility and femininity. The figure has inspired artists such as Henry Moore who’s ‘Three Quarter Figure 1961’ bore a strong resemblance. This is surly evidence that as this message from this visual symbol continues through the generations it must be art. Artist through history have looked back to Classical Antiquity of Greek and Roman art to inspire their work. The perfect body showing strength and beauty as in Aphrodite still remains as an image that we hold today.

Art is a term used today and in the past to loosely describe a skilful outcome such as the art of cooking or the art of football. We consider the term ‘fine art’s to be specific and to describe a famous oil painting or a beautiful sculpture often in an art gallery where we expect to encounter art. Is the work of a video games producer art? or must art be what we consider ‘traditional’. Is it possible to define art as something produced with meaning and message by the artist, then perhaps the success of the delivery of that meaning to even one viewer makes that piece of work art. History of Art, Marcia Pointon ‘’It is this very quality of ‘Not Art ’that has been exploited by so called billboard artists like Barbara Kruger who offers us what we are conditioned to expect to see but subverts this to make us see it in a new way”.

It is important to consider the time that a piece of art is created in. The Story of Art by E.H.Gombrich: “There really is no such thing as art. There are only artists. Once these were men who coloured the earth and roughed out the forms of bison on the wall of the cave. There is no harm in calling all of these activities art, as long as we keep in mind that such a word may mean very different things in different times and places, and as long as we realize that Art with a Capital A has no existence. For this has come to be something of a bogey and a fetish”.

This quote makes us see the word art as a slippery snake, moving with each generation and morphing into something different for different viewers.

Art historians believe that art is not created in a vacuum and that the most valuable artistic historical studies are to a greater or lesser extent comparative.

In an exhibition by Jeff Koons ‘New Hoover Convertibles 1981-1987’ Koons was attempting to decode why and how consumer objects are glorified. The exhibition consisted of a number of Hoovers arranged in precision designed acrylic containers.

It questioned our assumptions of what art is with similar effect to that of Duchamp’s urinal 1917. Here we saw familiar everyday objects placed in a gallery setting and so becoming art. Koons work did indeed encompass all elements of a piece of ‘fine art’. Its context was that of femininity as he suggests that he is feminine in his role towards his daughters.

He made door to door sales of sweets as a boy, hence the Hoover reference as they were at the time sold in this manner. Each of their colours were carefully chosen and their placement concise as any colour in a painting. The Hoovers became discontinued, as everything does. Koons commented that “If one of my works were to be turned on it would be destroyed”, emphasising the importance of the New during an evolution of computer games consumerism and 24 hour tv.

Looking back this summery would lead us to believe that the work was a piece of art but response to it was not so simple as it was unexpected and ground breaking at the time.

From the first cave artists who’s preoccupation was with survival we can see evidence of ideas affecting art. Images of animals were proportioned whilst man was often drawn as a stick man. The knowledge of the anatomy of the animal gained because of its importance as food.

The Neolithic period brought the first change in the use of depictions that of honouring gods with bronze statues, masks and pots. Art was beginning to be a visual response of the human environment. By the middle ages the design of architecture and manuscripts changed dramatically imbued with religious figures and it was soon understood that by using beautiful images and colours Christianity could attract new followers. By making the unknown appear attractive. Buddhism also exploited this with statues of Buddha showing harmony.

In Islam where art is forbidden, a beautiful geometric pattern in calligraphy and decoration developed and became art in its own right. Perhaps an example of artistic endeavour despite tough rules against it.

Europe in the 15th Century saw the most significant transition in history where art began to develop alongside mathematics. Medical procedures advanced quickly and as the understanding of the body so too its depiction. Examples of artists who played a part in this phase were Leonardo Da Vinci and Albrecht Durer. Artists began to work with line, form, shape and depth in what became known as the ‘General Elements of Design’.

During the early Renaissance the making of a piece of art was contractual and prescribed by a patron. Although private these commissions often held public place such as churches and public buildings.

There were few opportunities for the artist to express himself in the process. Dictated by Christianity fifteenth century painting was considered too important to be left to the painters.

The picture trade was a quite different thing from that in our own late romantic conditions (Painting and Experience in Fifteenth Century Italy, Michael Baxandall). The production, alongside other artisans such as Goldsmiths and Woodworkers was considered a necessary virtue and pleasure, an expected payment to society.

The amount paid for this work would be broken down into labour, materials, and expenses which included the contracting of other artists to complete the work under the guidance of the artist themselves.

Changes in Western Art as the fifteenth century progressed, became apparent as society abandoned the use of gold and gilt fabrics for restrained black and burgundy. A move away from gold was to express social mobility and the disassociation of oneself with flashiness.

By the 18th Century artists had become independent and enjoyed a high status. They began to see themselves differently, believing , that humanity should not dominate nature. There was an emphasis on celebrating the imagination and light began to flood into paintings this in an effort to extract raw emotion as opposed to conveying a deeper message.

It could be said that Romanticism – a counter cultural movement in which there were no ideals had the greatest effect on our understanding and production of art. Although it is a definition disliked by historians for its span of time and generalisation.

With the onset of the industrial revolution and the move from the individual being in control of the process of creativity there was a movement towards the love and appreciation of nature, free from the effects of a judgemental society. A validation of strong emotion and of authentic sources of an aesthetic experience.

The artist became known as a Bohemian: non-conformist, experimental, eccentric and was accepted. This description holds firm to some degree today. Artists such as Delacroix, Goya and Blake are amongst some of the key artists of this period.

#artsandideas

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awkwardlyamusing-blog · 5 years ago

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Things To Do This Weekend In London: 7-8 September 2019

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Things To Do This Weekend In London: 7-8 September 2019

All weekend

The Classic Boat Festival moors up at St Katharine Docks

EXHIBITIONS ENDING: It’s your last chance to see several exhibitions around town:

SKULLPTURE: Artworks by sculpture students from the Slade School of Fine Art, inspired by the many weird and wonderful creatures in the museum’s collections. Grant Museum (UCL), free, just turn up, until 7 September

LEONARDO DA VINCI: A look at items belonging to the famous polymath, including notebooks containing his diagrams and thoughts, and his mirror handwriting. British Library, £7, book ahead, until 8 September

KALEIDOSCOPE: A free exhibition of photographs taken by first and second generation immigrants, celebrating diversity. Somerset House, free, just turn up, until 8 September

MODERN BRITISH PRINTMAKING: 120 prints by 10 artist from the Grosvenor School of Art, showcasing the spirit of the 1930s. Dulwich Picture Gallery, £16.50, book ahead, until 8 September

KISS MY GENDERS: The curation leaves something to be desired, but Kiss My Genders is still a forward-thinking look at at gender fluidity. Hayward Gallery, £15.50, book ahead, until 8 September

TOTALLY THAMES: Get stuck into celebrating London’s river with the first full weekend of Totally Thames events. Watch objects made from river clay being fired on the foreshore, enjoy an outdoor promenade show of spoken word performances, and see a new artwork created through typography. 1-30 September

DOCUMENTARY FESTIVAL: The Open City Documentary Festival celebrates the art of making non-fiction films, through a series of screenings, exhibitions, talks and masterclass. Our picks this weekend include rhino documentary The Last Male On Earth, and Breathless Animals, about growing up in Maoist China. Various locations and prices, book ahead, 4-10 September

Car fan? Concours of Elegance is bound to get your motor running.

ART BOOK FAIR: Art books and magazines from around the world are for sale at the London Art Book Fair. Small and large scale publishers are represented, with work by artists, curators and poets available. Whitechapel Gallery, free entry, just turn up, 5-8 September

CLASSIC BOATS: Engage your sea legs and step on board classic boats — including Dunkirk Little Ships — at the Classic Boat Festival. More of a land lubber? Stick to the docks for live music, street food and a programme of watery talks. St Katharine Docks, free, just turn up, 6-8 September

RARE CARS: Petrol heads, head to Hampton Court to gawp at rare (and yes, expensive) cars at Concours of Elegance. More than 60 unusual cars park up in the Fountain Garden, many of which haven’t been seen before in the UK. Hampton Court Palace, from £40, book ahead, 6-8 September

Who knows what you’ll find at Peckham Salvage Yard.

PODCAST FESTIVAL: Earbuds at the ready for the London Podcast Festival. See famous and little-known podcasts recorded in front of a live audience, and attend events aimed at budding and experienced podcast producers. Highlights this weekend include LGBTQ+ show A Gay And A NonGay, and Nobody Panic, about the trials and tribulations of being an adult. Kings Place (King’s Cross), various prices, book ahead, 6-15 September

CRAFTY FOX: Go on a spree or simply browse at Crafty Fox Market’s latest outing. The curated range of stallholders include painters, jewellery makers, ceramicists, printmakers and textile artists, and it’s a chance to buy gifts and homewares directly from the local artists who made them. Mercato Metropolitano (Elephant & Castle), free entry, just turn up, 7-8 September

SALVAGE YARD: Rummage out a bargain or two at Peckham Salvage Yard, home to 50 different traders. Items up for grabs include vintage clothes, homewares, furniture and other oddities — but before you buy that retro armchair, think about how you’re going to get it on the bus. Bussey Building (Peckham), free entry, just turn up, 7-8 September

Saturday 7 September

Natural History Museum opens early for children on the autism spectrum.

DAWNOSAURS: The Natural History Museum opens its doors early, solely for children and the autism spectrum and their families. There’s a sensory room available for anyone in need of a bit of calm, a chance to touch some of the objects, and other activities led by autism-aware facilitators. Natural History Museum (South Kensington), free, book ahead, 8am-10am

OPEN ALLOTMENTS: Did you know that there are allotments in Regent’s Park? There’s a rare chance to visit them today. Have a go at apple pressing (and taste the results), purchase jams and other produce grown on site, and there’s a garden hunt for children too. Regent’s Park, free, just turn up, 10am-5pm

FINANCIAL TIMES FESTIVAL: The Financial Times hosts historians, journalists, authors, chefs, activists, barristers and others for a day of thought-provoking talks and discussions on a range of topics, from capitalism to climate change to London’s housing crisis. The action takes place across nine different stages — pick one, or move between them. Kenwood House (Hampstead), £95, book ahead, 10am-8pm

The Financial Times Festival is at Kenwood House.

OPEN STUDIOS: Gasworks Studios opens its doors to the public for an autumn open studios event. Get to know the artists who work there, including sculptors and textile and collage artists. Stick around until 4pm to hear some of them talk about their work. Gasworks (Vauxhall), free, just turn up, 12pm-6pm

AUTHORS ON STAGE: National Theatre’s Authors on Stage series continues with a trio of events today. Documentary presenter Stacey Dooley chats to BBC3 Controller Fiona Campbell about Dooley’s investigative journalism career to date. (£15-£35, book ahead, 1pm), Candice Carty-Williams is interviewed about the success of her debut novel Queenie, (£15-£35, book ahead, 4pm) and Matt Haig tackles questions about how the world is messing with our minds (£15-£45, book ahead, 8pm).

DOCKLANDS REGENERATION: Join a Museum of London Docklands tour guide for a walk around the Docklands area, covering how derelict docks were transformed into a thriving business hub. The event also looks at Crossrail, and the continued effect the much-awaited railway is having on the Canary Wharf area. Museum of London Docklands, £12.50, book ahead, 2pm

Don’t miss Chihuly Nights at Kew Gardens.

FEMINIST RIPPER: There are many Jack the Ripper tours available, but this one tells the often-overlooked stories of his victims. Katie from Look Up London leads the walk around the streets of Whitechapel, focusing on the hardships that Mary Ann Nichols, Annie Chapman, Elizabeth Stride, Catherine Eddowes and Mary Jane Kelly would have faced in the 19th century East End. Aldgate East station, £30.44, book ahead, 2pm

ANIME FILMS: A mini-festival of anime films takes over Picturehouse Central. New and classic anime films are covered, and all films are shown in Japanese with English subtitles. Picturehouse Central, various prices, book ahead, from 2.20pm

JENGA CHAMPIONSHIPS: Got Jenga skills? Show them off at this rooftop Jenga championship, the first of what is intended to be an annual event. 30 teams of two people compete in rounds including building the tallest tower, and erecting a structure while wearing ski gloves. Roof East (Stratford), £10, book ahead, 3pm-5.30pm

CHIHULY NIGHTS: If you’re not yet been to Chihuly Nights, we thoroughly recommend you put that right. Taking place every Thursday-Saturday until October, it’s a chance to see Dale Chihuly’s colourful glass sculptures illuminated against the backdrop of Kew Gardens. Follow the trail outside and into magnificent conservatories, before stopping for a drink and a bite to eat. Kew Gardens, £18/£12, book ahead, 7.30pm-10.30pm

THANK YOU FOR HAVING US: Part of both Totally Thames and the Feats of Architecture event programmes, Thank You For Having Us is a free street performance by French street-theatre titans Générik Vapeur and flying trapeze experts Gorilla Circus. It’s raising awareness of the plastic problem, by transforming the City’s streets into the ‘eighth continent’ — a giant rubbish dump in the middle of the Pacific Ocean. City of London, free, just turn up, 8pm-9pm

Sunday 8 September

Make friends at the Mayhew Open Day

VINTAGE CAR SHOW: The Classic and Vintage Car Show at Capel Manor Gardens has vehicles dating as far back as the 1920s on display. We’re promised an RAF flypast, food stalls, miniature train rides and live music. Capel Manor (Enfield), £8, just turn up, 10am-5pm

DICKENSIAN LONDON: Join a guide from the Dickens Museum for a guided walk around the Borough area, a locale that would have been familiar to author Charles Dickens. Among the sites, see part of the surviving wall of the Marshalsea Prison where his father was incarcerated, and a graveyard which may have inspired a scene from A Christmas Carol. Borough station, £10, book ahead, 11am-12.30pm

DOG SHOW: Bow wow wow your way over to east London for the All Dogs Matter dog show. The canine care charity offers competitions in areas such as cutest pup, best rescue and golden oldies — take your pooch along to show off their mettle, or just go along and watch for your daily dose of cute. Victoria Park, £5 to enter your dog, just turn up, 11am-3pm

Stock up on plants at the Green Rooms Market

THE MAYHEW: Animal welfare charity The Mayhew hosts an open day, inviting the public in to find out what it does, and have some fun. Meet some of the cattery’s residents, browse stalls selling products for you and your pets, and get stuck into a veggie barbecue, live music and games. The Mayhew (Kensal Green), £3/£2, just turn up, 11am-4pm

VINTAGE FASHION: Refresh your wardrobe at The Vintage Collections, a vintage fashion fair with items dating back more than 100 years. More than 50 traders sell women’s, men’s and kids’ clothes, along with accessories and homewares — have a rummage through the racks and see what you come up with. Freemasons Hall (Covent Garden), £5/£2, just turn up, 11am-5pm

PLANT MARKET: Buy a lily for your living room or a cactus for your kitchen at the Green Rooms Market. In addition to offering greenery for sale, the plant-centric event has a range of green-fingered experts on hand to offer advice on buying and caring for your plant, as well as the tools and accessories you’ll need for it to thrive. Brixton Village Market, free entry, just turn up, 11am-5pm

Browse rails of vintage clothes

HACKNEY CARNIVAL: Line the streets of Hackney between Mare Street and Landsdowne Drive (route map here) to see the floats of Hackney Carnival go past. Reggae bands, gymnasts, marching bands and dancers are just some of the performers in the procession, while other performances and events take place in clusters around the area. Hackney, free, just turn up, 11am-7pm

FOLK FESTIVAL: Family-friendly entertainment takes place all day at Bermondsey Folk Festival, with performances by local musicians. Things really hot up from 6pm when east London folk band Stick in the Wheel headline the evening session. Street food and craft beer available all day. Biscuit Factory (Bermondsey), free entry, just turn up, from 11am

Enter your pooch into Victoria Park Dog Show

COMIC FAIR: Over 40 comic artists, writers and publishers are present at the Hackney Comic + Zine Fair. The one-cay celebration of the comic art medium covers a range of styles and genres, with a focus on self-published and small press works. Comic fanatics and complete newbies all welcome. London Fields Arches, free entry, just turn up, 12pm-6pm

PARK KLEZMER: Annual event Klezmer in the Park celebrates its 10th anniversary with a free afternoon of entertainment for guests of all ages. BBC Radio 3’s Max Reinhardt is the special presenter at the open-air event, organised by the Jewish Music Institute. There’s also a kids’ activity area to keep younger guests busy. Regent’s Park bandstand, free, just turn up, 12.30pm-6.30pm

Malorie Blackman introduces her new novel

MALORIE BLACKMAN: Author Malorie Blackman introduces her new novel Crossfire, a much-awaited sequel to Noughts and Crosses, set 34 years after the original. Blackman chats about writing the new book, and about the upcoming TV adaptation of Noughts and Crosses. Southbank Centre, £20, book ahead, 2pm

SARA PASCOE: Comedian Sara Pascoe chats about her new book, Sex, Power, Money, with podcaster Deborah Frances-White. The book takes a not-entirely-serious look at the things that matter most to humans. Southbank Centre, £15-£25, book ahead, 7.30pm

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caveartfair · 5 years ago

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The Often-Ignored Problem with Buying Art as an Investment

A. Gomez, Money Girl, 2019. A. Gomez Oliver Cole Gallery

Is art a good investment? The recent mega-auctions in New York have brought out the siren song that art often outperforms other asset classes like real estate, while the Wall Street Journal declared that art achieved a 10.6 percent return in 2018 based on Art Market Research’s Art 100 Index, outpacing all other categories. One would think then that many savvy investors should be allocating funds to this glamorous asset class.

Most art market pundits will advise collectors to “buy what you love,” and not speculate on making a profit on acquisitions, but nevertheless imply that substantial appreciation on par with traditional asset classes is a hallmark of the art market in the post-war period.

Every season each major auction house has at least one or two outstanding estates, put together over several decades, that achieve substantial appreciation in some portions of their aesthetic choices—like the Mayers of Chicago, who fortuitously bought Robert Rauschenberg’s Buffalo II (1964) from Leo Castelli in 1964 for $16,900, and which sold last month for $88.8 million with fees—that appear to give credence to the inevitability of enormous asset appreciation. However, given that a mere dozen or so estates appear to make the grade in any given year at the evening sales in New York and London, what might that mean for the thousands of other art collectors in the same generation who somehow have not come out for the party?

Dark matter

It is possible to make money on art, but the more specific question is whether it is an attractive asset class for a middle market investor with a typical 5–10 year horizon analogous to other alternative investments. One of the chief challenges to adjudicating the merits of art as an investment, then, is having a transparent picture of its true annualized rate of return and its relative correlation with other asset classes in promoting a diversified portfolio.

Most of the established benchmarks for demonstrating this return are understandably focused on the observable price trends at auction as the only securely available dataset. However, this fixation on the available sales data tends to gloss over the often invisible background from which this data arises.

Much like the universe itself, one of the chief opacities to understanding the true economics of the art market is the enormous influence of ‘dark matter’ on asset prices. This dark matter consists in the vast number of artworks that have not, cannot, or will not, come to market, but nevertheless apply an invisible gravitational pull on the asset prices we can actually observe. These reservoirs of non-transactional works serve to artificially underwrite scarcity and aggravate demand, and both support the rarified prices of that very thin sliver of works that do come to market and distort the appearance of returns on investment for the category as a whole. In short, this unseen dark matter is just as important as the few star lots grabbing headlines every auction season.

A large portion of this dark matter comes in the form of museum accessions, which in effect serve as primordial black holes that sequester masterpieces from the marketplace through donations and museum acquisitions, but for the most part they will never be sold again. The recent shibboleth that Salvator Mundi (ca. 1500) is the “last” Leonardo da Vinci painting in private hands implies the fewer than 20 recognized examples in public collections will never return to the marketplace, and amplifies the price accordingly. Indeed, the enormous growth of museum collections, which has winnowed the ranks of masterpieces available since World War II, has contributed to the appearance of scarcity and an enormous inflation effect on those rarified asset prices.

Museum accessions also go hand in hand with the powerful effect of philanthropic giving for highly taxable estates. One can be quite sure that the recent buyers of David Hockney’s Portrait of an Artist (Pool with Two Figures) (1972) and Jeff Koons’s Rabbit (1986)—both of which hammered at $80 million—are not buying them for investment, or planning to turn around and sell them for $160 million in 5 or 10 years. There is a powerful philanthropic driver beyond the investment horizon that inflates asset prices for trophy artworks in the marketplace. If you are generating billions in capital gains or other income, you may be perfectly comfortable acquiring an $80-million artwork if the subsequent donation of that work to your non-profit foundation mitigates other tax liabilities on your balance sheet. This gambit drives most of the high-value acquisitions we see at auction, of works that will likely never return to the market again. Most of the major contemporary collectors spending at that rarified level are not planning to re-sell, and certainly are not buying for investment in the traditional sense, but rather allocating a portion of their wealth to assets that allow them to enjoy the blandishments of a private museum or major philanthropic gift, accompanied by a huge tax write-off that this inflation effect helpfully holds aloft.

A second field where dark matter resides is in the vaults of dealers’ unsold inventory of primary market material, as well as a select group of market makers who own large positions in a given artist’s work. In both cases, these entities are often active bidders and third-party guarantors who support prices in their chosen sector, in order to provide stable benchmarks for that unsold inventory. If these large reservoirs of material were not temporarily off the market, prices would crater as supply would quickly outstrip demand.

Both of these reservoirs of dark matter—trophy works destined for museum accession or philanthropic donation and unsold inventory—serve to keep prices afloat and maintain artificial scarcity for the thinly traded population of works that do come to market each season. One nagging uncertainty to ascertaining future growth then is if any of these reservoirs were to be breached—if deaccessions suddenly became more widespread, the tax laws changed, or substantial private inventories were liquidated—then this artificial scarcity would quickly be nullified.

Another, and less understood, reservoir of this dark matter, but possibly the most consequential, is the vast number of private collections—acquired either at auction or the primary market—which remain stubbornly underwater, or are worth less than their combined acquisition and liquidation costs.

It may come as a shock to some, but after many years of appraising collections assembled in the last 30 years, I would conservatively estimate that a substantial majority would realize less than they cost to acquire if they were to be liquidated, given the enormous transactional costs associated with buying and selling art.

A significant portion of past acquisitions typically do not come to market, and this enormous deadweight loss is like an invisible lodestar on the apparent annualized rate of return of artworks that are often only calculated from actual repeat sales. The works that come for resale are on balance mostly the winners that have achieved significant price inflation, making them a poor proxy for the true asset appreciation for the category.

This enormous reservoir of underperforming assets, scattered across numerous private balance sheets and thus difficult to discern, does not normally come into the marketplace to demonstrate its eroding state of depreciation, except in piecemeal fashion through eventual death, divorce, or duress. This enormous, hidden cache of dark matter is the unseen lodestar significantly depressing the true annualized rate of return for artworks as a whole.

Sample selection bias

We can catch a glimpse of this elusive third form of dark matter and its impact on prices in the groundbreaking art economics paper by University of Southern California professor Arthur Korteweg and two European colleagues, Roman Kräussl and Patrick Verwijmeren, which exposes the potential sample selection bias of some art indices, like Mei Moses (now owned by Sotheby’s), which employ repeat sales to calculate annualized returns for various segments of the art market. The paper’s hypothesis is that artworks that have significant price appreciation are more likely to come to market and result in higher observed returns relative to the population at large, leading to a sample selection bias that must be adjusted accordingly, yielding a much less sanguine investment profile.

In order to demonstrate this effect, Korteweg set out to construct their own art data set of repeat sales drawn from the Blouin Art Sales Index, and identify 2.3 million paintings sold between 1960 and 2010 for their sample population. Seeking out all identifiable repeat sales, and leaving out indeterminate matches, buy-ins, and other outliers, they locate 32,928 paintings which have a total of 69,103 repeat sales (some more than one).

It is particularly noteworthy that less than two percent of this population (32,928 paintings out of 2.3 million sold at auction between 1960 and 2010), have demonstrably sold more than once in this 50-year period. What happened to the other 98 percent? Many remain in private estates and have been gifted to museums, and many could have been sold privately, but even granting those caveats, less than two percent is a very slim recursion rate for appearing again at auction over half a century, especially during a period that has anecdotally been construed as one of the longest bull markets in art history. One corollary implication of Korteweg’s paper is that at least some of those paintings have not been reoffered because they would incur a loss and have languished as underperforming assets compared to the cohort who have enjoyed repeat sales. This gets at a fundamental flaw of art indices that do not adjust for this selection bias.

Building an alternative model that does account for this bias, the paper found that the average annual rate of return for paintings in their sample drops from 8.7 percent to 6.3 percent, and the corresponding Sharpe Ratio (a measure of risk vs. return) drops from a robust 2.7 percent to a meagre 1.1 percent. They conclude that a well-balanced investment portfolio, taking into account this sample selection bias when compared to other asset classes like stocks and bonds, would allocate exactly 0 percent of their assets to paintings as a category. While paintings may have a modest annual adjusted return of 6.3 percent between hammer prices, according to this model, the enormous additional transactional costs further erode this picture to the point that art as an investment vehicle may seem a contradiction in terms.

The eighty percent rule

Art investment skeptics often underscore the price opacity and lack of liquidity of the underlying asset, and the difficulty in picking winners, among other factors that dampen the prospects of art as an investment vehicle. However, there is also a much more straightforward structural challenge: the enormous transactional costs of entering and exiting a position through the auction markets.

Most market participants are aware that acquiring works at auction is often the most cost-effective measure, as retail prices from dealers are typically pegged at a significant premium to what is termed fair market value at auction (usually measured as the hammer price plus buyer’s premium). A simple calculation will indicate that the aggregate transactional costs of entering and exiting an investment in this market are a substantial drag on any prospective appreciation, which many investors may simply overlook in the calculation of annualized returns.

Say you are a New York City resident who has $10,000 to invest in the auction market. To stay within that budget, you would likely need to limit your maximum bid to around $7,000 to cover the buyer’s premium (25% at most houses: $1,750), New York sales tax (8.875%: $621) and shipping and handling ($629 for argument’s sake, to round out the total). So, your $10,000 allocation is already saddled with a 30% depreciation at the very outset of the investment, significantly weighing on its future prospects.

Bracketing aside any expenses for insurance, conservation, or other carrying costs, after five years you elect to sell the same work, and you have the unexpected windfall of an 80% return, or $12,600 from the original hammer price of $7,000. Unless you have negotiated special terms, you will typically owe the auction house a 10% seller’s commission (so, minus $1,260), 1.5% insurance fee (minus $189), photo fee (minus $200), and shipping and handling again (minus $629), for a net total of $10,322. The good news is you have a modest return of $322, but you may still owe the 31.8% in capital gains tax on collectibles on this portion (about $102.40), yielding a net return of about $219 and change.

The above scenario assumes standard rates and sales tax charges that may not apply in all cases, but as a benchmark it illustrates most market participants need to have a minimum of an 80% baseline appreciation simply to break even when entering and exiting an investment in the auction markets.

Many individual works and whole market categories have met or exceeded this appreciation in short periods of time, but the general benchmark from Korteweg’s study is an annual return of about 6.3%. This would suggest that many putative investments, in the absence of a means to obviate these transaction costs, are operating at a significant loss. We find substantial confirmation for this supposition from the extremely low recursion rates for paintings in Korteweg’s 50-year sample. Most people don’t sell art if they’re going to lose money in the process, and so it remains in limbo until their slow appreciation may eventually exceed their cost basis, or they are forced to sell. Thus, the specter of this vast field of dark matter looms behind the apparent appreciation of observed prices.

from Artsy News

#Artsy News

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alubaidiya · 6 years ago

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Behind The Scenes With Directors Of Fashion-Focused 'Made In Italy' TV Series

Anyone looking for quality clothing today knows to look for the “Made in Italy” label. And now the story behind the label is getting the serial treatment in a new television series from Mediaset, co-produced by Taodue Film and The Family. Created by Camilla Nesbitt, the show will map out the rise of Italy as a global fashion player.

Fashion has always been a key part of Italian heritage since the Middle Ages and Renaissance, when the country produced extravagant textiles that became popular across Europe. Michelangelo, Leonardo da Vinci and Raphael influenced the fashions of the time in paintings that showcased the country’s wealthy set, draped in decadent velvet, silk and jewels.

Greta Ferro (right) as Irene at Appeal Magazine.

Italy became a key player once again in the '50s and '60s as celebrities from Jackie Kennedy to Audrey Hepburn sought out bespoke work from Gucci and Valentino. But it wasn’t until the '70s that the industry became ingrained in every corner of the world as the everyday consumer craved high-end fashion and street wear that waltzed into stores right off the runway. Milan exploded as the global fashion capital, specializing in ready-to-wear, as brands including Versace, Armani and Dolce & Gabbana opened up shop.

Made in Italy, directed by Luca Lucini and Ago Panini, tells the story through the eyes of Irene Mastrangelo (Greta Ferro), a young journalist who embarks upon a life-changing career at the prestigious fashion magazine Appeal under editor-in-chief Rita Pasini (Margherita Buy).

In the series, Mastrangelo is a firsthand witness to the shift of Italian fashion from haute couture to pret-a-porter as designers including Giorgio Armani (Raoul Bova), Walter Albini (Gaetano Bruno), Krizia’s Mariuccia Mandelli (Stefania Rocca), Gianni Versace (Achille Marciano), Miuccia Prada (Caterina Carpio), Rosita and Ottavio Missoni (Claudia Pandolfi, Enrico Loverso), Elio Fiorucci (Stefano Fregni), Gianfranco Ferre (Silvio Cavallo), Valentino Garavani and more attempt to build their empires.

Greta Ferro as Irene at Appeal Magazine on Made in Italy

The show zeroes in on the personalities, the inspirations and the imaginations of the creative giants, and, of course, the photographers, including Richard Avedon (Wayne Maser). As business grows, visionary manager Beppe Modenese (Bebo Storti) reconciles the quarrelsome Italian brands into an economic powerhouse that could rival France’s dominance over the industry.

The Federation is handling international sales for the eight-episode series, which will premiere this spring in Italy on Canale 5. A U.S. distributor has not yet been announced.

The Hollywood Reporter spoke with Lucini and Panini about the appeal behind Made in Italy, a universal story that changed the country forever.

Margherita Buy with directors Luca Lucini and Ago Panini

What is most misunderstood about the world of Italian fashion?

Everybody knows Italian fashion today. But very few know the artists behind well-known worldwide brands like Krizia, Armani, Ferre and so on. So, especially for new generations, we think it is important to know the origins, which took place mostly in Milan in the mid-'70s.

What do you hope this story conveys to audiences?

A lot of the series that are coming out of Italy these days are crime stories. They show a violent and crude side of our country, which, unfortunately, exists, but it is not the only story to tell. The history of fashion in Italy is a great one, and a 100 percent real one. It’s a story of passion, a unique marriage between taste, ideas, craziness and the great ability of designers to read the times.

What is the drama at the center of this story?

We can certainly describe Made in Italy as a personal journey of a young girl, Irene (our protagonist), unable to live within the female parameters of her time. But by meeting incredible fashion talents, as well as a group of unique and unforgettable persons, she is able to make a life of her own. She becomes an independent woman — tough, intense, passionate and constantly in love with fashion and its creators.

Models at Krizia fashion show

What kind of audience do you think this show will appeal to?

We think this show is addressed to anyone who loves good stories, the kinds of stories where a young person overcomes difficulties with a lot of energy, passion and humor. On top of that, we hope to be able to tell the “big story” behind this one: the history of the fashion industry in Milan. And we also hope to be able to talk to young people who need to start dreaming big again, as our characters do. Because nothing is impossible if you are really motivated.

How challenging was it to cast the designers?

Some of the designers are alive (like Giorgio Armani and Rosita Missoni). Some others have left us. We decided to consider the designers as “special guests” in Irene’s life. And we wanted to give the audience the same feeling. That’s why we decided to cast big Italian names to play the designers, such as Raoul Bova, Stefania Rocca, Gaetano Bruno and Claudia Pandolfi. It was really fun to challenge these big actors to envision the original designers.

How much of the wardrobe is authentic and how much was recreated?

We decided to use only real vintage pieces for the designers’ atelier pieces. We reproduced some of the everyday clothes. Probably 70 to 80 percent of the wardrobe is authentic. We flew dresses from collections from all over the world. Some of the Krizia clothes came from Japan!

Greta Ferro (right) as Irene, at Appeal Magazine on Made in Italy

What was the best and most challenging part of going through the fashion archives of each house?

The best part was, of course, becoming sort of “intimate” with these great people. It was incredibly inspiring to have conversations with living witnesses of that incredible time. Everyone we talked to had shiny and watery eyes just remembering a time when everything was possible, and dreams were so close to reality, that you could touch them with a finger. Of course. the fashion world is very protective of opening its secret archives, so it was a hard job to gain these people’s trust. But we did it.

Which archives were opened for the first time for this series?

Some of Walter Albini’s [the influential and largely forgotten stylist was considered the forefather of Italian fashion] objects and clothes, such as the “Klimt” look, are shown almost for the first time and definitely for the first time in a TV show. Most of the jewels that we had on set came with armed security, straight out of designers' archives. There was a huge research phase, made by a very determined team of fashion journalists, to create the right connection between the show and the design houses.

Behind-the-Scenes at Milan's Castello Sforzesco.

What was a personal highlight of shooting the show for you?

The two days we spent shooting at the real Missoni factory were truly touching. To be able to breathe and share Rosita’s memories, in her house, it is really something hard to forget.

Are there any particular pieces shown that really represent the history of Italian fashion?

In our first season, we focused on the roots of what then became the “Italian fashion system,” so the audience will witness, for instance, the birth of the world-famous unstructured jacket by Armani, even if the most iconic pieces would come in the early ‘80s.

https://fashion--gallery.com/beauty-insider-experts-weigh-in-on-their-top-tips-this-season/

#fashion #fashion gallery #made in italy #fashionnearme #alubaidiya

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