Artist Theaster Gates, choreographer and media personality Jin Xing,
actor Deepika Padukone and artist Lynette Wallworth are the recipients of the
26th Annual Crystal Award, the World Economic Forum announced today. The award
celebrates the achievements of artists and cultural figures whose leadership
inspires inclusive and sustainable change. The winners will be honoured in the
opening session of the World Economic Forum Annual Meeting 2020 in Davos-Klosters,
Switzerland, on Monday 20 January.
“These wonderful cultural leaders are bridge-builders. They connect us to each other, they help us reflect on the human condition and they provide visions of the world that can cut through the limitations of short-term or linear thinking,” said Hilde Schwab, Chairwoman and Co-Founder of the World Arts Forum, which hosts the awards.
Theaster Gates, for his leadership in creating sustainable communities
Theaster Gates is an artist who lives and works in Chicago. Drawing on his interest and training in urban planning and preservation, Gates creates works that focus on space theory, land development, sculpture and performance. In 2010, Gates established the Rebuild Foundation to galvanize communities through neighbourhood regeneration and the development of educational and arts programming. Many of the foundation’s initiatives are centred on the revitalization of Chicago’s South Side, creating hubs and archives for black culture that serve as catalysts for discussions on race, equality, space and history. Gates is a professor at the University of Chicago in the Department of Visual Arts and the Harris School of Public Policy, and is Distinguished Visiting Artist and Director of Artist Initiatives at the Lunder Institute for American Art at Colby College. His work has been exhibited internationally.
“Special thanks to the World Economic Forum for this most prized Crystal Award. I am always reminded that the impact of the arts and artists is incomparable when we think about the transformation of cities and towns. I am honoured to work as a believer in beauty and creativity and hope the work and the ideals that I lead within Chicago have resonance throughout the world,” said Gates.
Jin Xing, for her leadership in shaping inclusive cultural norms
Jin Xing is a choreographer, media personality and China’s most popular TV host. She is a former male ballet dancer and army colonel, who was the first person, publicly, to undergo gender reassignment surgery in her country. She is the founder of the award-winning Jin Xing Dance Theatre, the country’s first independent dance company. Her television shows, which include Venus Hits Mars, The Jin Xing Show and Chinese Dating, draw more than 100 million viewers a week and create a space for discussion on contemporary life in China. She is a Chevalier de l’Ordre des Arts et des Lettres of France and received an honorary Doctorate of Dance from the Royal Conservatoire of Scotland.
“In today’s complex and fractured world, I pursue my mission to be true to the society, to be a true voice for the public, as an artist, a public figure and as a human being. I’m grateful and honoured to receive this year’s Crystal Award. This honour encourages me to continue my mission and be crystal clear towards life,” said Jin.
Deepika Padukone, for her leadership in raising mental health awareness
Deepika Padukone is an internationally acclaimed actor, fashion icon and mental health ambassador from India. She has acted in close to 30 feature films across genres and won several awards for her performances. Many of her films also rank among the highest grossing films of all time. Padukone was diagnosed with clinical depression in 2014 and sought professional help to aid her recovery. In June 2015, she founded The Live Love Laugh Foundation (TLLLF) to give hope to every person experiencing stress, anxiety and depression (SAD). The foundation’s programmes and initiatives include nationwide public awareness and destigmatization campaigns, adolescent mental health programmes, funding support for treatment in rural communities, training general physicians in common mental health disorders, research and an annual lecture series featuring the world’s foremost thinkers and achievers.
“With more than 300 million people suffering with the illness, depression is the leading cause of ill health and disability in the world today and a major contributor to the overall global burden of disease. It is therefore increasingly clear that, now more than ever before, we need to aggressively address what is an invisible and overlooked health and social burden. I am humbled and deeply honoured to be chosen for this year’s Crystal Award and dedicate the award to the millions around the world who experience stress, anxiety and depression, and other forms of mental illness,” Padukone said.
Lynette Wallworth, for her leadership in creating inclusive narratives
Lynette Wallworth is an Australian artist whose immersive video installations, virtual reality and film works reflect the connections between people and the natural world, as well as exploring the nature of resilience. She won an Emmy Award for her virtual reality film Collisions, which the World Economic Forum commissioned, premiered and executive-produced. Wallworth was named one of the “100 Leading Global Thinkers” by Foreign Policy magazine for immersing audiences in the destructive power of nuclear weapons. Her 2018 mixed-reality film Awavena, the story of the first woman Shaman from the Yawanawa tribe in Brazil, as well as her most recent works, have been made at the invitation of indigenous communities. She is a member of the World Economic Forum’s Global Future Council on Virtual and Augmented Reality and a member of the Board of Trustees of the Sundance Institute.
“I have sought to use my skills as an artist to bring unheard voices, including indigenous voices, into the rooms they have been excluded from. These voices ring out with resilience, persistence, power and grace. In supporting my work, the creation and the presentation of it, the World Economic Forum has helped me place it in front of those I most wished to impact, those whose decisions help shape our shared future. I am immensely grateful that these works, these voices, have been heard and are being honoured by a Crystal Award,” said Lynette Wallworth
Useful Tips On How To Commission An Artist
Tips for Commissioning a Piece of Art
For centuries, people have been commissioning artists to create a piece that has special meaning for them, something to hang in their house, or a piece that communicates a message that the owner wants to express.
If you are one of these people, and you want a portrait or a piece of London canvas art, there are a few things you need to remember when commissioning a work of art.
The first thing you need to do is, have a concise list of what you want the piece to look like and include; do you like art deco, or do you want something more classic? Unless the artist, and you, are ok with the artist using their imagination, it is on you to have the idea.
You can be as specific or as vague as you want, but the artist will need some direction when it comes to the style, elements, colour palette, etc.
It doesn’t matter how much you love an artist or even how much you are willing to pay; some artists won’t accept your commission. This could be due to several reasons, such as a tight timeframe, the artist not feeling like they could do the work justice, or any other reasons.
What you need to remember is to not fight them on it. If they don’t think they can do it, ask if they may know someone who can or if it would be better to contact them later in the month or year.
Regarding the price, it is typically frowned upon to haggle. You are asking them to spend their time and use their immense skill and talent to create a piece for you; through years of working and mastering their craft, they know how valuable said time and skill is worth.
You must also know that you need to accept the price, and you can also get a quote for the work if you have enough details of what you want the piece to look like and include. Lastly, art is also more expensive than you may think, even if the piece is small or not as “detailed” as other work.
Once an artist gets a week or two into creating your piece, you are going to struggle to get them to change anything; and if you do, there is a very good chance the price is going to go up, or you will need to pay for a new commission completely.
This is why it is essential to know exactly what you want, what style and paint the artist must use, the size of the work etc., before a pencil or paintbrush even touches the canvas.
While many artists are highly talented and skilled, you need to accept that there may be some elements or styles that they aren’t masters of; maybe they can make incredible backdrops but struggle with faces, or they’re brilliant with people and not with animals.
While this may be more common with younger, less experienced artists, do your due diligence and find out if there are any aspects they aren’t completely confident with, and adjust them.
Another thing you need to be prepared for is the timeframe or the price to change. Artists can give you rough ideas for when they can finish a piece, but they are still humans with lives, and you never know what could happen that might slow them down.
The price can also change if they discover that your piece needs a specialised tool or expensive paint they didn’t have. While some may not charge you for this, others may.
It is essential to stay in contact with the artist while they are working on your piece. It would be best if you weren’t asking for updates every hour on the hour, but a weekly update to find out the progress or any problems helps keep the process running smoothly.
This also ensures that there are no surprises when reveal day comes, as you would already be aware of and signed off on any changes or alterations.
As mentioned, most artists who take commissions are incredibly talented and skilled, but they aren’t miracle workers. You must know that there are potentially things that aren’t possible, or at least not possible, within the parameters you provide; not everyone can do a Sistine Chapel or Jackson Pollock.
While artists can do and create a lot, it is essential to remember that there are limitations and that not everything you can imagine is possible.
Finally, you need to always be patient. There is a reason great tattoos take 20 or 30 hours or why growing the perfect garden may take a few years; awe-inspiring art takes much more time than you may think.
Even if you get given a timeline, it is still important to wait until the artist is fully satisfied with the work. This also means that you can’t rush the artist if you decide that you want the piece earlier than the agreed-upon finishing time.
Europe’s major tourist sites battle climate change to survive
Climate change is destroying heritage sites across Europe and globally. Ancient historical landmarks could disappear completely unless swift action is taken to protect them from environmental damage, researchers are warning.
Climate change is destroying heritage sites across Europe and globally. Ancient historical landmarks could disappear completely unless swift action is taken to protect them from environmental damage, researchers are warning.
Future generations may never get to explore streets conquered by medieval knights in Greece, city quarters built by the Islamic empire in Spain, 10th century cliff-top castles in Slovakia and many other historical wonders in Europe.
Floods and rising temperatures are already damaging ancient buildings, said Angelos Amditis, project coordinator of a project called HYPERION which is helping major sites in Greece, Italy, Spain and Norway, adapt to the impacts of climate change.
‘If we don’t act fast, if we don’t allocate the right resources and knowledge, and … create a common alliance to address the climate change issues, we will pay very dearly,’ he said.
‘We may (completely) lose well-known landmarks in Europe and globally … our children may not have a chance to see them except on video,’ said Dr Amditis, who is director of Research and Development in the Athens-based Institute of Communication and Computer Systems (ICCS).
The HYPERION project is developing tools for mapping out the risks and helping local authorities find the most cost-effective ways to reduce the vulnerability of historical sites.
Mapping the risks includes assessing the structure and condition of buildings and monuments and installing sensors to monitor the ongoing impacts of climate change and other threats to the sites.
The project also uses data from Europe’s Copernicus satellites to map the areas at risk and gather climate data.
What can make conservation work particularly complex is that different buildings on a single site were often constructed in different eras and using different materials. Each building must therefore be individually assessed, and may need different forms of protection.
For example, early builders in Venice often re-used stones and other bits of buildings found locally. As the city became wealthier, it began importing fresh materials which were better quality, and are proving more resistant to the impacts of rising tides and floods.
And in Norway’s Viking town of Tønsberg, buildings were constructed over several centuries, and made with different types of wood or stone. Local temperatures are rising, and affecting each building material differently, said Dr Amditis.
Many monuments and sites are made more vulnerable to the impacts of climate change because they are already suffering damage from pollution, earthquakes or other hazards.
So, to boost their resilience to climate change, they need to be restored and protected from all the hazards they face, said Dr Amditis.
For example, Greece’s beautiful city of Rhodes is hit by frequent heatwaves, earthquakes and flooding. But its medieval buildings also need protection from damage caused by heavy delivery lorries. This could involve finding a less harmful way to transport goods to the local population, said Dr Amditis. The HYPERION project is not involved in this aspect of the city’s resilience planning.
Authorities must involve local communities when planning ways to protect heritage, said Daniel Lückerath, project coordinator of a project called ARCH.
‘The danger is that they will not like the solution you provide and then they might not use the historic area anymore,’ said Dr Lückerath, who is a project manager at Germany’s Fraunhofer Institute for Intelligent Analysis and Information Systems (IAIS).
‘People are what make historic areas … what give those areas value,’ he said. Without them, ‘you would just have a ghost town,’ he added.
Like HYPERION, the ARCH project is developing tools for authorities to assess and protect their local heritage. ARCH is co-designing these with authorities in Slovakia’s ancient capital Bratislava, the Italian village of Camerino, Valencia in Spain and Germany’s harbour-city, Hamburg.
Sometimes there is a difficult trade-off between protecting heritage and allowing new developments which benefit the local community. For example, Hamburg recently carried out major dredging work to allow larger container ships to reach its port.
This work, combined with climate change, is changing the water levels in the city’s 19th century warehouse district which is a World Heritage Site, said Dr Lückerath. This change in water levels could weaken the foundations of the old warehouses so they will need ongoing monitoring, he said.
Major heritage sites are not the only ones that need to be preserved. ‘Any site in danger is a problem for the communities living there,’ said Aitziber Egusquiza, coordinator of the SHELTER project which is developing risk assessment, early warning systems and conservation tools for communities, including those with few financial and technical resources.
In some cases, local authorities do not monitor the impacts of climate change and other risks, lack information about the age and state of their local heritage, and lack the political will to protect it. As a consequence, communities living near some of Europe’s most exposed sites are not necessarily aware of their vulnerability, making it very difficult to conserve them.
‘That worries me,’ said Egusquiza, who is senior researcher at Tecnalia, an independent research and technology organisation in Spain.
It is important to convince the leadership to invest in conserving these sites, especially as they bring tourism and jobs – both of which will be lost if that heritage is lost, said Egusquiza.
‘We need to put more numbers on what will be lost if we don’t act,’ he said, referring to projections about economic impacts on local communities.
The tools developed by SHELTER, ARCH and HYPERION projects will be tested by the cities and communities which helped design them, and then trialed in other regions to see if they can be replicated in different situations. Ultimately, the aim is to help all communities protect their heritage.
But with Europe and other regions facing the combined crises of the COVID-19 pandemic, war in Ukraine, and rising cost of living, it is easy for leaders to push preserving cultural heritage down the list of priorities, said Dr Amditis.
‘It is a very expensive and time-consuming exercise, but it is worth the time and the resources. If you lose even one site, it’s a big loss for humanity,’ he added.
The research in this article was funded by the EU. This article was originally published in Horizon, the EU Research and Innovation Magazine.
The Evil Russian on American Screens: Stranger Things Season Four Short Review
After the collapse of communism in Russia a few years ago, the frequency of propaganda through the media carried out by the United States that presents Russians as evil, ruthless, and very cruel was expected to decrease. This alleged decline is because the United States’ attention has been diverted to many Arab and Middle Eastern countries after the 9/11 incident. However, these American filmmakers have retained the depiction of Russians as “the bad one” in their film masterpieces, whether for merit or business reasons.
Maybe it’s not just a hobby or a business, but as a form of counter-resistance from the West to a series of events and political steps taken by the Russian side during that period to the present day. Russia, which often shows the power and absoluteness of its government—even though it has taken the form of a communist state—wants to show its identity as a true geopolitical enemy of the United States. As if invited to return nostalgia, the Russian government now feels more like a reincarnation of the Soviet era.
The depiction of Russians as criminals on the screen of the United States is the most concrete and decisive manifestation of the Soviet Union’s communist regime, which is all associated with being antagonistic and full of oppression. The above is still relevant today for most Americans that Russians tend to be scary and have bad intentions. The reason is that the Russian government, which Vladimir Putin currently leads, gives the impression of being hard, fierce, and scary. The ex-KGB, Vladimir Putin, has been heavily criticized for his policies during his time in power. Putin has been criticized for his big ambitions to expand his country’s geopolitical capacity to defend himself against future NATO attacks. The 2014 annexation of Crimea evidences this ambition—it did not stop there—Putin showed a fierce side of himself by supporting the Bashar al-Assad regime in Syria until the invasion of Ukraine in early 2022.
The portray of Russian citizens as cruel and terrible antagonists has been produced in many American films, such as in the movie John Wick—whose dog was killed by Russian criminals. Not only that, but the American series also took part in projecting this. Call it Stranger Things. Regarding the depiction of Russia as “the bad one” and America as “the good and superhero,” the author will discuss the sub-plot of saving Jim Hopper in the fourth season of Stranger Things which was just released on 27 May 2022 and 1 July 2022 then.
In this fourth season, the depiction of the Stranger Things story is divided into several settings, one of which is the story of Jim Hopper being a prisoner of Russia. This Jim Hopper sub-plot shows the audience the horrors of Russia’s prisons. This plot presents the impressions of prisoners being treated harshly like slaves who deserve to die and several scenes showing the violence of the prison guards on Jim while being interrogated about his friend Joyce Byer in the third season of Stranger Things. The highlight of the depiction of the Russian character as a party with bad intentions is to reveal research on the terrible monster “Demogorgon” in Stranger Things that have appeared since its first season. We can assume that the Russians are deliberately keeping the monster for later testing. This little depiction is enough to allow the audience to be furious. Jim Hopper, who unexpectedly managed to escape from a Russian prison, suddenly wanted to crush the Demogorgons instead of escaping and flying to America when the opportunity was at hand. Through this, The Duffer Brothers seem to give the impression that the bad and unwanted things in the future tend to be caused by Russia, while America comes to save the world.
Still around the story of Jim’s rescue and attempted escape as a Russian prisoner, the character of Yuri Ismaylov—an airplane pilot from Russia—played by actor Nikola Djuricko also received quite a bit of attention. The reason is, that Yuri’s character is described as a braggart and a con artist who causes Jim to have difficulty escaping many times. Again, the Russians are illustrated as the wrong side and the source of trouble.
There are several analyses related to the reasons for the American film embedding the Russian side as an antagonist. One is America’s desire to maintain a superior image to its geopolitical opponents. America has so far maintained its desires and ambitions due to the old story of the great ideological feud in the past Cold War era—between communists and liberals. From this old story, the depiction of good and bad in American films is still felt today.
However, apart from the reasons above, which emphasize the ideological war and show off between the two sides, it is also possible that these films were made in the context of business interests. To be precise, American Screens don’t want to get out of their comfort zone. The success of films portraying the Russian character as cunning, cruel, and full of intrigue gave American filmmakers an exhilarating feeling. For example, American films entitled The Equalizer, Atomic Blonde, and Mission: Impossible-Ghost Protocol managed to make big money. For this reason, maintaining the image of Russia’s antagonist can be said to be done for smooth business.
Now, the question is, how long will America place its geopolitical enemy as a villain in its cinematic masterpieces? The answer to the question above is the same as asking a question about how long America and Russia will be enemies and show off against each other in the eyes of the world. Our job as film lovers is to sit back and chew popcorn on a comfortable sofa. Eliminate the bad stereotypes brought by the media because the truth is that the media are not always right and often exaggerate problems. Truly, people are different from government, may be we will have many unexpected things in common. So, release endless hatred.
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