[yt_dropcap type=”square” font=”” size=”14″ color=”#000″ background=”#fff” ] H [/yt_dropcap]ard power’ can no longer stop conflicts nor the rise of violent extremism and “ancient hatreds” such as antisemitism and racial discrimination, the head of the United Nations cultural agency said today, insisting that “we need ‘soft power’ of education, knowledge, culture, communication, the sciences, to strengthen the values we share and recognize the destiny we hold in common.”
Irina Bokova, the Director-General of the UN Education Scientific and Cultural Organization (UNESCO) made this call at the opening ceremony of the Fourth World Forum on Intercultural Dialogue hosted by the Government of Azerbaijan in the country’s capital, Baku, and co-organized along with UNESCO, the UN Alliance of Civilizations.
More than 500 participants from around the world are attending the Forum under the theme ‘Advancing Intercultural Dialogue – New avenues for human security, peace and sustainable development.’
Ms. Bokova praised President Ilham Aliyev of Azerbaijan for his “longstanding leadership in promoting intercultural dialogue” as well as the tireless engagement of the First Lady, Mehriban Aliyeva, as UNESCO Goodwill Ambassador for Oral and Musical Traditions.
Azerbaijan has a long history on the ‘Silk Road’ ancient trade route, as a centre for exchange, scholarship and art. Baku’s Walled City is also inscribed on the UNESCO World Heritage List.
Conflicts across the world are tearing countries apart with civilians hardest hit, Ms. Bokova warned, pointing to the rise of violent extremism and ‘cultural cleansing,’ as well as what she called “ancient hatreds” like antisemitism, racial discrimination and intolerance.
“We see mosques, churches and other temples destroyed and cultural diversity threatened,” the UNESCO chief told a room full of dignitaries and representatives of the public, private and non¬–profit sector. “We see education under attack and children forced out of learning. We see freedom of expression threatened, journalists attacked. We see societies closing against perceived ‘others,’ and minorities persecuted.”
In this context, Ms. Bokova argued, the world has no choice but to respond while remaining true to the compass setting of human rights and dignity.
Of late, she added, hard power is not enough. The world needs the soft power of education, knowledge, culture, communication, the sciences, to strengthen the values we share and recognize the destiny we hold in common.
Picking up that thread, Nassir Abdulaziz, UN High Representative for the Alliance of Civilizations (UNAOC), in his address said military actions and security measures cannot be the only response to the world’s challenges. “The interconnected nature of today’s crises requires us to connect our own efforts for peace and security, sustainable development and human rights, not just in words, but in practice,” he said.
“The challenge now is to make corresponding changes to our culture, strategy, structures and operations. We must commit to achieve human security and sustainable development, in partnership with regional organizations, mobilizing the entire range of those with influence, from religious authorities to civil society and the business community, he said, adding that women and youth must also be brought to the table.
The Baku Process has become a successful platform to promote “peaceful and inclusive societies” around the world. Since its inception, Mr. Al-Nasser said, the Forum has encouraged and enabled people and communities worldwide to take concrete measures to support diversity, dialogue and mutual understanding amongst nations.
The focus of this year’s Forum is particularly significant, he continued, adding that human security places people at the centre of multidisciplinary approaches and response, including development and human rights.
UNESCO is a main partner of the Forum in addition to organizations such as the UN World Tourism Organization, the Food and Agriculture Organization, the Council of Europe, the Islamic Educational Scientific and Cultural Organization (ISESCO) and the North-South Centre of the Council of Europe.
Public art that brings a smile to your face
This International Day of Happiness on 20 March reminds us that life is happier when we’re together. It urges us to focus on what we have in common, rather than on what divides us.
One thing that has the power to bring us closer together is art. Art can also bring us closer to nature, helping to blur the boundaries between the “concrete jungles” of our cities and outside spaces.
This International Day of Happiness we sought inspiration, especially among young people, in public urban art. Despite being drawn to cities for a myriad of reasons, for many of us, happiness is closely tied with our proximity to nature and green spaces. Humanity evolved in close connection with nature, and a need for its presence is woven deeply into our consciousness.
“Connecting to our living environment through enjoying public art in urban spaces can change how we understand the world, help us relax and reduce stress and anxiety, and provide memorable experiences,” said Garrette Clark, UN Environment’s Sustainable Lifestyles Programme Officer.
“Sustainable living and lifestyles are about reducing negative environmental impacts as well as spending more time and resources on the experiences that add value to our lives.”
One example is Conservation Conversation Corners, in Johannesburg, South Africa and Livingstone, Zambia. This project involves four young artists—South African upcycler Heath Nash, Zambian sculptor Owen Shikabeta, Zambian painter Mwamba Chikwemba and South African installation artist Mbali Dhlamini.
Using mural paintings, public participation and sculpture, they visually and physically transform urban public spaces to reconnect their users with nature.
These artists observed a link between spending time in these spaces and a feeling of relaxation, safeness and peace of mind. Some stated that the only time they really felt safe and happy in these—and other—cities was when they felt connected with nature.
Twenty-eight-year-old Mbali Dhlamini observed: “As a woman in Jozi, you always feel like you need to keep eyes at the back of your head. We stay on our guards and alert at all times, whether walking or driving in the city, because of the crime here. How wonderful it would be to feel free and at peace. Nature has that. Nature gives us that. We need to access it and conserve it more in our towns and cities.”
Public art like this is playing an important role in shaping urban neighbourhoods, boosting a sense of community, and bringing people together.
In 2008, for the first time more people lived in urban areas than in rural ones. Urbanization is occurring everywhere and at unprecedented speed—especially in Africa. Urban populations in Africa are expected to triple in the next 50 years, and urban space is expected to increase by more than 700 per cent between 2000 and 2030.
Reflecting on how we can better bring nature into ever-expanding urban spaces, public art can help us provide access to green spaces in cities as a potential source of happiness.
A growing number of scientific studies demonstrate the power of nature to positively affect our health, well-being and happiness, and in 2017, National Geographic identified the greening of urban areas as one of the top five aspects shaping the future of cities.
Isabel Wetzel, Associate Human Settlements Officer at UN-Habitat and Greener Cities Partnership liaison between UN Environment and UN-Habitat, added: “The beneficial relationship between nature and happiness in urban areas is apparent – and public art can provide a beautiful channel to express it.
“Art has the power to connect people from different backgrounds and generations, and green public spaces have a positive impact on the health of the residents.
“Highlighting the need for nature restoration and conservation of our green and blue ecosystems in urban areas through public art is a powerful way to reconnect people, particularly young people, with the natural world.”
So, if you, your family and your friends are feeling unhappy in your city—seek urban green spaces, and if they don’t exist yet, create them!
5 Museums You Don’t Want to Miss in Athens
The National Archaeological Museum is the largest museum in Greece. Although its original purpose was to secure finds from 19th century excavations in and around Athens, it gradually became the central national institution, enriched with finds from all over the country. With more than 11,000 exhibits, its abundant collections provide a panorama of Greek civilisation, from the beginnings of prehistory to late antiquity.
MUST SEE: The famous gold mask of Agamemnon and the Antikythera mechanism. Address: 44 28is Oktovriou St, Athens.
The Benaki Museum was the first private museum established in Greece and has three satellite spaces in hip areas around Athens. Its flagship building can be found in the first-class district of Kolonaki, housed in one of the biggest and most impressive neoclassical buildings in the city. This private collection was cultivated by Antonis Benakis, a wealthy cotton merchant, in memory of his father Emmanuel Benakis. You’ll find artefacts from Greek pre-history right through to the Mycenaean and Classical eras, continuing with items related to such pivotal events as the fall of Constantinople and the Greek War of Independence.
MUST SEE: The reconstruction of mid-18th century reception rooms found in stately mansions in Greek Macedonia, featuring the original gilded ceilings and wood-panelled walls. Address: 1 Koumbari St & Vasilissis Sofias Av, Kolonaki.
The Museum of Cycladic Art also found in Kolonaki, showcases a fascinating collection gathered by the late shipping magnate Nicholas Goulandris and his wife Dolly. Housed in a stately mansion that was built in 1895, this private collection expands over four levels. The artworks give insights into the ancient civilisations of the Cycladic Islands. The semi-abstract figurines inspired Cubism and 20th century artists like Picasso and Brancusi. Intricately painted amphorae (vases) are also on display.
MUST SEE: The renowned male figure believed to come from Amorgos, is one of the very few represented in the upright pose, it is the only known male figure of these monumental dimensions. Address: 4 Neophytou Douka St, Kolonaki.
Visiting the Byzantine and Christian Museum provides an oasis from city life. The building, nestled in a peaceful, well-kept courtyard that is set back from the road, was built in 1948 in a Tuscan Renaissance style and is an architectural rarity in Athens. The permanent exhibition is placed over several levels covering 18 centuries of art and culture. You will be reminded of how much power and influence the Byzantine Empire wielded and the legacy it left behind. More than 25,000 exhibits with rare collections of pictures, scriptures, frescoes, pottery, fabrics, manuscripts and more.
MUST SEE: A rare 13th Century mosaic icon of the Virgin Mary from Constantinople, one of only 40 known to exist. Address: 22 Vasilissis Sofias Av, Kolonaki.
Consistently rated as one of the best in the world, the Acropolis Museum is located at the edge of the southern slope of the Acropolis and should be visited before or after your visit to the ancient city. Devoted to the Parthenon and its surrounding temples, it showcases and protects the surviving treasures from the Acropolis. The collections touch on the Archaic and Roman periods moving all the way through to the 5th century AD. An obvious emphasis is placed on the 5th century BC, considered the pinnacle of Greece’s artistic achievement.
MUST SEE: If you’re short on time, don’t miss the Parthenon Gallery (Level 3) and the five caryatids (Level 1) that are the original maidens that once held up the roof of the southern porch of the Erechtheion. Address: 15 Dionysiou Areopagitou St, Athens.
TIP: The Benaki Museum, Museum of Cycladic Art and Byzantine and Christian Museum are all within walking distance of each other.
Andy Warhol: From A to B and Back Again
The San Francisco Museum of Modern Art (SFMOMA) announces the exclusive West Coast presentation of the critically acclaimed exhibition, Andy Warhol—From A to B and Back Again on view from May 19 through September 2, 2019. Spanning the artist’s 40-year career and featuring more than 300 works on three different floors of the museum, the exhibition includes paintings, drawings, graphics, photographs, films, television shows as well as a personal time capsule of ephemera. The retrospective features examples of the artist’s most iconic pieces in addition to lesser-known abstract paintings from later in his career. Uncannily relevant in today’s image-driven world, Andy Warhol—From A to B and Back Again provides new insight into Andy Warhol himself by examining the complexities of this enigmatic artist more than 30 years after his death in 1987. The show’s title is taken from Warhol’s 1975 book, The Philosophy of Andy Warhol (From A to B and Back Again), a memoir featuring the artist’s musings on fame, love, beauty, class, money and other key themes that frequently appear in his work.
“He’s a complicated figure and a complicated artist,” said Gary Garrels, Elise S. Haas Senior Curator of Painting and Sculpture at SFMOMA. “His inner emotions, his psychic self were not his subject matter. Warhol is constantly labeled a Pop artist, but all that happened within a couple of years and then he moved on and the work goes quite dark and explores questions of gender and sexual identity, fame, subcultures. At the time of his death, the consensus was that Warhol was no longer relevant. But the last major retrospective in 1989 was a wake-up call: this is an artist we have to reckon with.”
First presented at the Whitney Museum of American Art in New York and curated by Donna De Salvo, Deputy Director for International Initiatives and Senior Curator at the Whitney, with Christie Mitchell, senior curatorial assistant, and Mark Loiacono, curatorial associate, this exhibition provides an opportunity for new generations to reconsider Andy Warhol, one of the most influential, inventive and important American artists. Warhol’s understanding of the growing power of images in contemporary life anticipated our social media-focused world and helped to expand the artist’s role in society making him one of the most recognized artists of the 20th century.
Andy Warhol—From A to B and Back Again also showcases SFMOMA’s impressive holdings of many of the artist’s most important works including National Velvet (1963), Liz #6 (Early Colored Liz) (1963), Triple Elvis (Ferus Type), (1963), Silver Marlon (1963), Robert Mapplethorpe (1983) and self-portraits.
Andy Warhol—From A to B and Back Again will be presented on three floors of SFMOMA: two, four and five.
On the museum’s second floor, two galleries of works on paper offer a detailed look at Warhol’s earliest drawings from the 1940s and hand-drawn commercial illustrations created for advertising in the 1950s. These early drawings lay the groundwork for many of the techniques and approaches he would use throughout his career. This portion of the exhibition includes delicate, gilded collages and sketches of shoes for the Miller Shoe Company, and illustrations for publications such as Glamour Magazine and The New York Times.
On display in SFMOMA’s fourth-floor special exhibition galleries, the exhibition takes visitors chronologically through the arc of Warhol’s career and his production in painting, drawing, photography, film and installation. The first half of the exhibition opens with his best known work from the creatively active period of 1960–68, with his earliest paintings such as Dick Tracy (1961) and Superman (1961), followed by the groundbreaking, iconic Pop Art paintings, Green Coca-Cola Bottles (1962), 192 One Dollar Bills (1962) and the sculpture, Brillo Boxes (1969, version of 1964 original). The exhibition then highlights Warhol’s depictions of celebrities, including Elvis, Elizabeth Taylor and Jacqueline Kennedy. In a dedicated black box gallery adjacent to the early Pop Art work, samples of Warhol’s films and videos will be on view including his series of Screen Tests featuring Ethel Scull, Edie Sedgwick and Billy Name (1964–65).
Subjects take a darker turn in Warhol’s Death and Disaster paintings (1963–64) memorializing car crashes, the electric chair and a benign yet sinister can of tuna fish contaminated with botulism. An eye-popping gallery filled with 16 colorful Flower paintings (1964) will be installed on top of Warhol’s Cow Wallpaper (1966) for a bold immersive experience. Visitors will have a chance to experience Silver Clouds, Warhol’s sculptural installation of shiny Mylar balloons created in 1966, the point at which he declared himself to be done with painting.
Warhol’s work of the 1970s and 1980s focuses on post-Pop artwork, which Garrels observes are “very unknown to most people.” In these galleries Warhol shifts his focus with a massive portrait of Chairman Mao (1972), followed by a gallery featuring photographs and paintings of trans women and drag queens from the 1970s, which provide a look into Warhol’s fascination with the elusiveness and complexity of gender and identity. A separate suite of photographic self-portraits of Warhol in drag provides a different view into the artist’s carefully cultivated persona. A large single gallery is dedicated to Warhol’s grand experiments with abstract painting, featuring a gold Shadow painting (1978) and two large-scale Rorschach paintings (1984). Warhol’s influence on the young artists of the East Village in the 1980s is highlighted through collaborative works created with Jean-Michel Basquiat and Keith Haring. Also on display is an unpacked personal time capsule, one of 610 created over the course of the artist’s life.
Two galleries in the museum’s fifth floor Pop, Minimal and Figurative Art presentation feature a 1970s “facebook” of wall-to-wall grids of large-scale silk-screened portraits representing a “who’s who” of celebrities, cultural icons, gallerists, athletes and business leaders. These galleries feature nearly 40 portraits such as Halston (1975), Dominique de Menil (1969), Liza Minnelli (1978), Pelé (1977), Leo Castelli (1975), Mohammad Reza Shah Pahlavi (1976) and Gianni Versace (1979–80), as well as the artist’s mother, Julia Warhola (1974). For the subject, a Warhol portrait provided social validation and an immediate status symbol; for Warhol these commissions were a consistent revenue stream that supported his studio and desire to explore other more personal ventures. Warhol’s television shows and videos are on display in the city gallery on this floor.
Andy Warhol was born Andrew Warhola in Pittsburgh, PA in 1928. In 1949, he graduated from Carnegie Institute of Technology (now Carnegie Mellon University) with a Bachelor of Arts in pictorial design. Shortly after graduation, Warhol moved to New York City, where he would live for the rest of his life, and began what would become a vaunted career as a commercial artist, for which he earned numerous awards and accolades. Despite his commercial success, Warhol was determined to pursue a career as a fine artist. He first exhibited his work at the Hugo Gallery in 1952, though he did not gain recognition in the fine art world until 1962 when the Ferus Gallery in Los Angeles staged his groundbreaking exhibition of Campbell’s Soup Can paintings. Through the 1960s, Warhol exhibited at Ferus, Stable Gallery, Castelli Gallery, Sonnabend Gallery and internationally to great acclaim. He established “the Factory” in 1963, the same year he began his pioneering work in film. In 1965, Warhol announced his “retirement” from painting to pursue filmmaking full-time; underground films such as Empire (1964) and The Chelsea Girls (1966) remain some of his most influential works.
In 1968, Warhol was shot in a near-fatal assassination attempt, but by 1969 he had founded Interview magazine and his interest in producing work across all media—including sculpture, video and performance—was reignited. In 1975, Warhol published The Philosophy of Andy Warhol (From A to B and Back Again) and by the late 1970s had expanded his practice to cable television shows with Andy Warhol’s Fashion, Andy Warhol’s Fifteen Minutes and Andy Warhol’s T.V. Warhol’s work of the late 1970s and 1980s exhibits an increased interest in abstraction and collaboration and often reflexively returns to his own earlier work and iconography. His late work speaks to a voracious interest in current events and enthusiasm for artists from the East Village scene such as Keith Haring and Jean-Michel Basquiat, with whom he collaborated. In February 1987, Warhol died after a brief illness following routine gallbladder surgery. The Andy Warhol Diaries, his infamous account of his own life from the mid-1970s up to his death, was published posthumously in 1991.
Major exhibitions during Warhol’s lifetime include his first institutional solo exhibition at the ICA Philadelphia in 1965, a 1968 exhibition at the Moderna Museet, Stockholm, a 1970 retrospective organized by the Pasadena Art Museum, which traveled extensively and Andy Warhol: Portraits of the 70s organized by the Whitney Museum in 1979–80. The final exhibition of his work during his lifetime, at Robert Miller Gallery, New York, in January 1987, debuted a new series of stitched photographs. Warhol’s work is collected by significant institutions across the world including major repositories at SFMOMA, the Whitney Museum of American Art, Tate, The Museum of Modern Art, The Art Institute of Chicago, The Museum Brandhorst, Munich, The Museum Ludwig, Cologne, The Marx Collection at the Hamburger Bahnhof, Berlin, the National Gallery of Art, Washington, D.C. and the Andy Warhol Museum, Pittsburgh.
The exhibition is accompanied by a full-color, 400-page scholarly monograph edited by Donna De Salvo spanning all periods of Warhol’s career and including paintings, sculpture, drawings, prints, videos, photographs, archival and printed material, installations, films and media works. A contextualizing essay by De Salvo is complemented by essays and contributions from Jessica Beck, Okwui Enwezor, Trevor Fairbrother, Hendrik Folkerts, Bill Horrigan, Bruce Jenkins, Branden W. Joseph, Barbara Kruger, Glenn Ligon, Michael Sanchez and Lynne Tillman, as well as a plate section with 450 images. The catalogue is published by the Whitney and is distributed by Yale University Press.
San Francisco Museum of Modern Art
151 Third Street
San Francisco, CA 94103
Davos: The Other Side of the Mirror
It has been a couple of months since I was hanging out in Davos learning about this year’s World Economic...
Civilizationism vs the Nation State
Many have framed the battle lines in the geopolitics of the emerging new world order as the 21st century’s Great...
Green and Gray Infrastructure More Powerful When They Work Together
A new generation of infrastructure projects that harness the power of nature can help achieve development goals, including water security...
Russia and the Indian Ocean Security and Governance
Russia is located far from the Indian Ocean, but the region has always played an important role in the country’s...
Pakistan: Next Destination for Nature-Lovers
Pakistan is country blessed with natural beauty. Diverse topography, climate, people, makes it unique country, worth visiting. Northern part of...
ADB Supports 275 MW Power Plant to Boost Energy Access in Sumatra, Indonesia
The Asian Development Bank (ADB) today signed a private sector financing package to support the construction of a 275-megawatt combined-cycle gas...
“Gas wars” in Europe
Russia is ramping up natural gas exports to Europe. In 2018, Gazprom delivered a record 201.8 billion cubic meters of gas...
South Asia3 days ago
A peek into India’s 2019 elections: Past trends and portents
Terrorism3 days ago
Who is Brenton Tarrant: Insight on the New Zealand Attack
Economy3 days ago
Turkey and Trump’s sanctions-based “political economy”
Terrorism2 days ago
Gun Control: Lessons from the East
Hotels & Resorts2 days ago
The Luxury Collection Debuts in Armenia With the Opening of The Alexander
East Asia1 day ago
China’s great geostrategy for trade and defense
Europe2 days ago
Energy2 days ago
Thinking about energy and water together can help ensure that “no one is left behind”