EXCLUSIVE: Comedic multi-hyphenate Julio Torres (A24’s Problemista) has struck a deal with Ars Nova, the Off-Broadway, non-profit theater in NYC, that will see them partner to identify, develop, and commission full-length projects from early-career comedy artists.
The collaboration further expands Ars Nova’s two-decade commitment to new comedy at a time when support systems for NYC-based artists have decreased. Under the partnership, Torres and Ars Nova will look to provide comedians with opportunities for development and production outside of the traditional model of sketch shows and 10-minute sets. They’ll offer funding up front to create brand new, uniquely theatrical shows, while providing mentorship and development resources to the artists involved, the first set for a commission being Ars Nova Vision Residency Alum River L. Ramirez. Others will be announced at a later date.
To celebrate the alliance, Torres will return to the Ars Nova stage on October 26 to host Showgasm. — the theater’s variety-show-meets-party that serves up comedy, burlesque, and more. In addition to the newly commissioned Ramirez, Showgasm. will feature performances by Spike Einbinder, Macy Rodman, and Max Wittert, among others. Tickets are Name Your Price starting at $5 with every dollar going directly to the artists involved.
“This is such a dream—I get to guide Ars Nova into commissioning shows from my brilliant friends, starting with the unique and powerful River L. Ramirez, who has been an inspiration of mine since I met them years ago doing open mics,” said Torres in a statement to Deadline. “Many years ago, John Early introduced me to Ars Nova where I had my first solo show. I’m proud that now I get to put the spotlight on others and give them the resources they need to translate their talent and experience into formal commissions by a welcoming theater.”
Added Founding Artistic Director Jason Eagan, “Julio is a singular talent whose groundbreaking work in comedy and television continues to redefine our culture. We’re ecstatic to have him actively in our community again and inspired by his desire to help the next wave of comedy talent break barriers, by getting their work made and seen. Placing this partnership alongside our ongoing comedy residency program CAMP, led by Matt Gehring and Mahayla Laurence, further cements Ars Nova’s commitment to its comedy, music, theater, and everything-in-between, mission.”
A Brooklyn-based comedian, writer, filmmaker and actor, Torres is best known for his Emmy-nominated and WGA-winning writing on Saturday Night Live, the Peabody and GLAAD Award-winning HBO series Los Espookys, which he co-created with Fred Armisen and Ana Fabrega, and his forthcoming directorial debut Problemista, a comedy he wrote and stars in alongside Tilda Swinton, which premiered at SXSW and will premiere theatrically in 2024, having been one of the many titles pushed out of 2023 amidst the strikes from the WGA and SAG-AFTRA. A24 and Emma Stone’s Fruit Tree Films are the producers.
First performing on the Ars Nova stage in 2014, Torres has also been seen on shows like High Maintenance, Search Party and Shrill, the Ed Helms-Patti Harrison indie Together Together, and on assorted late-night shows, where he’s performed stand-up. His next TV series, Fantasmas, will premniere on HBO next year.
A NYC-based experimental performance artist, comedian, musician, storyteller and writer, Ramirez appears in Torres’ Problemista and Los Espookys and previously wrote, produced and directed the comedy special program Pervert Everything for Cartoon Network’s Adult Swim. They teach performance and public speaking at The Brick Aux in BK, perform experimental comedy at Littlefield in BK, and have been commissioned for original musical and dance-based performances by Baryshnikov Arts Center, Gibney, Ars Nova Vision Residency program, and Moma PS1. Named one of Comedy Central’s Up Next Comedians for 2018, Ramirez has additionally written for High Maintenance and The National Lampoon Radio Hour.
Artist incubator Ars Nova operates under the leadership of Eagan, Producing Executive Director Renee Blinkwolt, and Managing Director Casey York. Honored with an Obie Award and a Special Citation from the New York Drama Critics’ Circle for sustained quality and commitment to the development and production of new work, the theater is based in NYC’s Hell’s Kitchen.
Notable past productions include Heather Christian’s three-time Lortel Award-winner Oratorio for Living Things, directed by Lee Sunday Evans; Lortel Award-winner, Rags Parkland Sings the Songs of the Future, created by Andrew R. Butler and directed by Jordan Fein; The Lucky Ones, created by The Bengsons and Sarah Gancher, and directed by Anne Kauffman; Lortel winner KPOP, created by Jason Kim, Max Vernon, Helen Park, and Woodshed Collective, and directed by Teddy Bergman; Jennifer Kidwell and Scott R. Sheppard’s Obie Award-winner Underground Railroad Game, directed by Taibi Magar; Bess Wohl’s Small Mouth Sounds, directed by Rachel Chavkin; Dave Malloy’s Tony Award-winning Natasha, Pierre & The Great Comet of 1812, directed by Rachel Chavkin; the world premiere of the 2009 season’s most-produced play boom by Peter Sinn Nachtrieb, directed by Alex Timbers; the show that put Bridget Everett on the map, At Least It’s Pink by Everett, Michael Patrick King, and Kenny Mellman, which had King serving as director; and Lin-Manuel Miranda and Thomas Kail’s first New York production, Freestyle Love Supreme by Anthony Veneziale and Miranda, and directed by Kail.
EXCLUSIVE: Robbie Fairchild, a Broadway lead and former New York City Ballet principal dancer, will star in the stage version of Michel Hazanavicius’ 2011 Oscar-winning movie The Artist, set in the 1920s when movies found their voice with the advent of talking pictures.
Fairchild received a Tony Award nomination for An American In Paris, another show based on a celebrated movie when it premiered on Broadway in 2015. Two years later, he helped launch that show in the West End.
In The Artist, he will play Silent Era matinee idol George Valentin, who finds his career torn away from him when the talkies arrive.
The part won French actor Jean Dujardin the Best Actor Oscar.
The Artist, co-written for the theater by Drew McOnie and playwright and screenwriter Lindsey Ferrentino (Amy and the Orphans, Ugly Lies the Bone), will have its world premiere at the Theatre Royal Plymouth from May 11 to May 25, 2024. Productions in London and the U.S. are bound to follow.
Director and choreographer McOnie told me he has also cast relative newcomer Briana Craig (Singing In the Rain, 42nd Street) to play wannabe headliner Peppy Miller, the role performed by Bérénice Bejo in the movie version.
During the summer ,I saw a workshop of The Artist’s first act with the splendidly poetic Fairchild playing Valentin.
However, Craig was not available at that session, which took place in the uppermost floor of the mammoth Dominion Theatre in London’s Tottenham Court Road.
“Aha, she’s our secret weapon,” McOnie teased when we discussed Craig.
McOnie said Craig had attended some of his dance classes and he remembered her when he and casting director Will Burton began casting for a series of early workshops of The Artist. “Briana was quite exceptional and stood out” during the search, said McOnie.
He noted that the chemistry between Fairchild and Craig “was absolutely palpable the moment they started working together.”
It’s a story that follows characters — one at the beginning of their career and one more experienced. ”It was really magic to see the meeting of Briana and Robbie, these two people at very different stages of their careers,” McOnie said. “It’s really inspiring watching Briana learn so much from Robbie, and in turn Robbie learning so much from Bianca with their different skill sets.”
The beauty of the show being dance-led, McOnie observed, is that ”you’re experiencing the story through that added element of poetry and it requires the audiences’ imagination, a sort of leap of faith, in which you’re able to imagine what is being said at times, and of course that is passed through your own emotional filter.”
People at workshops and private showings “have been surprised at how emotional and moving it is,” McOnie told me — a view I share.
Gary Wilmot (Anything Goes, The Wizard of Oz, Jack and the Beanstalk), one of the most versatile (and funniest) actors I know, will take on the role of studio boss Al Zimmer.
I asked McOne whether Hazanavicius had given approval for the casting.
The director and choreographer, who runs a production company under his own name, shook his head and pointed out that Fairchild’s name had been in the mix when McOnie and Georgia Gatti, executive producer at The McOnie Company, concluded the deal with Hazanavicius and The Artist film’s producer Thomas Langmann and production company La Petite Reine.
“The idea of working with Robbie was sort of at the genesis; we were talking about him at the beginning,” McOnie said.
He added that “Michel is so trusting … he said to us right at the beginning, ”You are creative people … go and do what you need to do.”
Smiling, McOnie said that he and his team welcomed Hazanavicius’ trust. “It’s very rare not to have to be jumping through those gaps all the time.”
The creative team includes set and costume designs by Tony and Olivier Award winner Christopher Oram (Wolf Hall Parts I & II, Red, Frozen), music by Tony winner Simon Hale (Girl From the North Country, Get Up Stand Up!), lighting by ZoeSpurr (Good, Fantastically Great Women Who Changed The World), sound by Tony and Olivier winner Simon Baker (Matilda the Musical, A Christmas Carol), video by Ash J Woodward (The 47th, Harry Potter and the Cursed Child), puppetry by Maia Kirkman-Richards (The Sorcerer’s Apprentice) and casting by Will Burton CDG. The associate director/choreographer is Ebony Molina and the musical director is Chris Poon.
The Artist is a McOnie Company production produced by Theatre Royal Plymouth, The McOnie Company, Playful Productions, Bill Damaschke, Stephen and Nancy Gabriel and Underbelly.
McOnie told me that there have been “good rumblings” from West End theater owners keen to transfer The Artist from Plymouth.
“There are opportunities internationally too,” he said.
“A lot of American interest, actually. For a story based in Hollywood, with an American writer and American as well as British producers, it’s very important for us to feel like an American and a British piece of theater.”
Also, because the show’s language is dance and music — words aren’t spoken until the talkies arrive –language is not a deterrent. It can play anywhere. “The West End isn’t our only sights,” McOnie said.
One important casting decision was settled during the show’s development.
In the movie version a real terrier played a pivotal role.
McOnie told me that for a moment, because he’s a dog lover, he’d considered using a real canine on stage.
“But the reality is, weirdly, that you actually wanted the dog to do things beyond what a real dog can do … in the element of the film obviously, you can edit short clips together whereas we wanted the dog to be a poetic gesture in the way that the rest of the production is poetic,” he explained.
So the dog will be a combination of puppetry and a top-notch dancer.
Fans of the beloved anime series Haikyuu! have reason to celebrate as the show gears up for its grand finale with two thrilling movies. The first of these movies, Haikyu!! The Movie: Decisive Battle at the Garbage Dump, is set to hit Japanese theaters on February 16, 2024, marking the beginning of the end for this iconic sports anime.
Haikyuu!, known for its intense volleyball battles and heartwarming character development, wrapped up its fourth season earlier, leaving fans eager for more. Instead of a fifth season, the creators have opted for a spectacular conclusion through two movies that will adapt pivotal moments from Haruichi Furudate’s original manga series.
During a special event for the anime, fans were treated to the first trailer and promotional materials for the upcoming movie. In an exciting gesture, series creator Haruichi Furudate shared a special sketch featuring Shoyo Hinata and Kenma Kozume, capturing the excitement surrounding the movie’s release.
Haikyu!! The Movie: Decisive Battle at the Garbage Dump promises to bring back the familiar voice cast from the anime, ensuring continuity for fans. The movie will be directed and written by Susumu Mitsunaka, with character design by Takahiro Kishida and Takahiro Chiba serving as the chief animation director.
While Japanese fans will get to experience the movie’s debut in theatres next year, international release plans have yet to be revealed. However, with Haikyuu’s global popularity, fans worldwide can hope for a chance to witness the epic showdown between Karasuno and Nekoma.
For those who haven’t had the chance to dive into the world of Haikyuu!, Crunchyroll offers all four seasons of the anime. The series follows the journey of Shoyo Hinata, who, inspired by a pro volleyball player, forms a team in middle school. His determination leads him to high school, where he encounters his rival, Tobio Kageyama. The rivalry sets the stage for intense matches and unforgettable moments.
As Haikyuu! prepares to serve its final ace, fans can relive the excitement and camaraderie that have made it a beloved part of the anime world. Stay tuned for updates on international release dates, and mark your calendars for the beginning of the end with Haikyu!! The Movie: Decisive Battle at the Garbage Dump in 2024.
Jones Inso got a share of the limelight in wushu men’s taijiquan-taijijian all-around on Monday, generating another bronze medal for the Philippines in the 19th Asian Games (Asiad) where one medal bet suffered an unexpected loss in the pool but vowed to bounce back.
The 26-year-old veteran taolu specialist Inso clinched the podium spot behind China’s Gao Haonan and Hong Kong’s Hui Tak Yan with a combined effort of 9.746 points in the taijiquan event and 9.470 in the taijijian discipline.
“I put in the effort during my training. I even reviewed my past performances and today I got a bronze,’’ said Inso, who juggles the time as a national athlete with his education as a mechanical engineering major.
Inso’s bronze was the second for the country in these Games after taekwondo jin Patrick King Perez managed to secure third place in the men’s individual poomsae on Sunday.He made it count this time after landing 14th overall in the 2018 Jakarta edition.
The day ended not in the way the Philippine delegation here anticipated after Kayla Sanchez checked in sixth in the women’s 50-meter backstroke finals late in the night at Hangzhou Olympic Sports Centre Aquatic Sports Arena.
But the 22-year-old, who took Philippine citizenship earlier in the year, isn’t losing hope. She is actually confident of grabbing grab a medal in the pool over the next couple of days after clocking 28.66 seconds in the event where she was penciled as a solid gold hope.
“I’m not going to give up. I’ll just keep on pushing forward. This is a good starting point, and for me it’s all about the flag,’’ said Sanchez, who spearheaded the country’s 4x100m freestyle relay’s national record-breaking feat the other night.
Chinese tankers Wang Xueer (27.35 seconds) and Wan Letian (27.41) finished 1-2 that boosted the host country’s total to 36 gold medals after just six days. Japanese Miki Takahashi took the bronze in 28.21.
South Korea is a far second in the medal count as of 8:30 p.m. Monday with nine. The Chinese also have 19 silver and nine bronze medals in an overpowering show of force.
Teia Salvino, who likewise qualified to the finals with Sanchez, touched the wall last among the eight swimmers in 28.79.
Up next for Sanchez, who helped the Canadian relay team claim a silver and bronze in the Tokyo Olympics, is the 100-m free on Tuesday and the 50-m free on Wednesday as well as the 4x100m medley relay. She’s also entered in the 100-m back.
Gao claimed the gold with a combined score of 19.666 while Hui got the silver with a 19.494 total at Xiaoushan Guali Sports Centre here.
Missing out on a medal in the 2023 Southeast Asian (SEA) Games in Cambodia, Inso bounced back big on a much larger stage, his second-place finish in the barehand taijiquan event hinting of great things to come.
After executing his routine ahead of the rest in the taijiquan, the pride of La Trinidad, Benguet, was the second performer on the mat in the sword act of taijijian with only Gao, Hui and Chinese Taipei’s Sun Chia Hung surpassing his performance. INQ
Patrick King Perez gave the country something to cheer for on Sunday, delivering the first podium performance for Team Philippines in the 19th Asian Games (Asiad) with a bronze finish in the men’s individual poomsae here in Hangzhou, China.
“Just a few months back I was holding a gold medal in the SEA (South East Asian) Games, so it’s really hard to believe that I’ve won a medal again in my first Asian Games,’’ said Perez after his dual routine took him as far as the semifinals, where he lost to Chinese Taipei’s Ma Yun Zhong.
“I told myself that my next target (after the SEA Games) is the Asian Games. I might not have won the gold, but it’s unbelievable that I got a bronze,’’ said 23-year-old Perez of his performance in the competition that merges recognized and freestyle events. “This is a dream come true.’’
Even without bringing home a medal, skateboarder Mazel Alegado was a scene-stealer for the Philippines on Sunday.
At 9 years old, Alegado is the youngest athlete competing in the Asian Games and reached the women’s park skateboarding final at Qiantang Roller Sports Centre.
She has a lot of ground to cover though.
The Filipino prodigy finished seventh among the eight participants who survived the qualification round and made it to the final skate-off.
Alegado scored 44.86 points in her first run and delivered her best performance in her second try, garnering 56.96 points to earn a shot at the medal in the women’s park final on Monday.
Japan’s Hinano Kusaki top scored with 78.06 points, Mao Jiasi of China placed second with 77.06 points, while Japanese Mei Sugawara finished third with 75.33.
Margielyn Didal, the 2018 Asian Games gold medalist, will start her campaign in women’s street skateboarding on Tuesday.
Perez and Alegado were the early highlights on Sunday, after the national swimming team delayed the debut of the much-hyped Kayla Noelle Sanchez by saving her for the final of the women’s 4×100 freestyle relay that was yet to start at press time.
Two-time Olympian Jasmine Alkhaldi and Southeast Asian Games gold medalists Xiandi Chua, Teia Salvino and Chloe Isleta rolled the red carpet out for Sanchez, qualifying the women’s team to the finals after finishing third in the second heat in three minutes and 48.06 seconds.
The Philippines finished the heat behind China’s 3:37.53 and Japan’s 3:40.89.
While Perez managed to perform creditably in the dual discipline of poomsae, which is a new modification for the Asiad, three-time SEA Games champion Jocel Lyn Ninobla hit a wall against a formidable foe.
Ninobla, a certified recognized poomsae virtuoso, lost to South Korea’s Cha Yeaeun in the women’s individual poomsae round of 16.
Cha garnered 7.680 in her two-way effort, narrowly beating Ninobla’s 7.560.
“Mixing recognized with freestyle is a new event. Good thing I was able to adapt quickly since I already competed in the freestyle in 2019,’’ said Perez.
The De La Salle University standout put together an average output of 6.910 after registering 7.640 and 6.180, respectively, while Ma caught the eye of the judges and received a combined effort of 7.450 built on his routine of 8.000 and 6.900.
“It’s a good start and a good sign,’’ said Philippine Olympic Committee president Abraham “Bambol’’ Tolentino of Perez’s bronze.
Ma eventually settled for the silver medal after South Korea’s Kang Wan-jin ruled the final with a 7.730 to top the Taiwanese’s total of 7.480. INQ
When it comes to Bollywood royalty, Kareena Kapoor Khan stands at the forefront, and her 43rd birthday celebration was nothing short of `magical`. The actress, known for her charm, marked this special occasion with a family reunion amidst the grandeur of the Pataudi Palace. A glimpse into the festivities emerged online, capturing a magical moment that left Kareena and her loved ones in sheer awe.
In a video shared by the incredibly talented mentalist and illusionist, Karan Khanna, on his Instagram, Kareena and her dashing husband, Saif Ali Khan, were seated together, surrounded by an air of anticipation. Karan Khanna, a master of his craft, took center stage, ready to weave his spellbinding magic.
The magic trick that unfolded before them was nothing short of mesmerizing. Karan began by holding a seemingly ordinary deck of cards, and with a flourish, he plucked one from the deck, making it materialize within Saif`s palm. The look of amazement on Saif Ali Khan`s face mirrored the astonishment of those watching. But the real enchantment came when Kareena Kapoor Khan`s turn arrived.
With a graceful flick of the wrist, Karan Khanna placed a card in Kareena`s hand. As she opened her palm to reveal the card, the room was filled with gasps of astonishment. It wasn`t just any card; it was the one Kareena had chosen moments earlier in her mind. Her wide-eyed expression spoke volumes about the sheer wonder of the moment, and it was a testament to Karan Khanna`s extraordinary skills.
Karan Khanna, filled with gratitude for being a part of this extraordinary celebration, shared his feelings on Instagram, saying, “Super Duper Grateful to be invited to perform at the Pataudi Palace for kareenakapoorkhan mam’s birthday bash. Super amazing to perform for saif sir, kareena mam, therealkarismakapoor mam and their lovely family. Still feels like a dream. Super nice people and really good vibes.”
As we celebrate Kareena Kapoor Khan`s 43rd birthday, it`s impossible not to reflect on her remarkable journey in the world of Indian cinema. Just recently, she graced the digital screens with her OTT debut in the highly acclaimed film `Jaane Jaan.` Her portrayal in the film garnered rave reviews, further solidifying her status as a powerhouse performer.
Meanwhile, her husband, Saif Ali Khan, had his own cinematic journey in 2023 with the release of `Adipurush.` However, the film faced mixed reviews from audiences and critics alike. Despite the varied reception, Saif Ali Khan`s commitment to his craft remains unwavering.
lived in Harlesden for most of my life but ended up moving to Tottenham when I got together with my boyfriend, now my husband. We live in a Thirties end-of-terrace house with our one year-old son — and Tottenham Hotspur Stadium in the back garden. My husband is Spurs but I’m an Arsenal fan, so I’m not sure how that happened.
It’s been an adventure building a home with someone. I thought I was going to lose my sense of community when I left Harlesden but it’s the same here. There are so many green spaces and lots of nice little corners.
Everyone’s heard of Chuku’s because of Beyoncé. It’s a great Nigerian tapas place with a surprising amount of options for my vegan husband.
San Marco, which is right by Bruce Grove station, has been run by the same Italian family since 1973. It’s a family-oriented space with good food and amazing service. They’ll go, “Oh, do you want a moment?” and pick my son up and walk him around the restaurant.
Fieldseat is my favourite meeting spot, but I also go there by myself all the time. The food is Turkish with a contemporary twist and they also sell lots of produce like nice oils, wine and bread.
If you’re looking for a pub with good grub and a nice selection of beers, go to The Beehive on Stoneleigh Road. It’s been there forever. We also like The Antwerp Arms, which is a cool community-run pub by the cemetery.
Climbing is life. We used to go to The Castle on Green Lanes, but now Stronghold is our local gym.
It has an amazing atmosphere — I describe climbing as the best individual team sport you’ll ever do because you have to do it yourself, but everyone’s rooting for you. My sisters thought I was mad until I sent them a picture of myself with Jason Momoa outside The Castle.
I needed to do a lot of walking after having my son, so I’d go to Bruce Castle Park. It has one of the oldest recorded trees in London, Old Bess, which is about 500 years old. Now I run, too.
Tottenham’s got too many parks to list, but if we want to get a bit more wild, we’ll walk down past Northumberland Park into Tottenham Marshes. There are a few routes you can take, but we tend to walk for about an hour and a half.
We go throughout the year and I love seeing the seasonal changes. It’s always great in spring when everything’s starting to wake up and you see the first buds on the trees.
The annual open studios at Markfield Road in Tottenham Hale is an opportunity to talk to artists directly, and maybe grab something. It’s a great way to stay connected to what’s happening in the local art scene. The street artist Dreph now has a mural in EastEnders, but lots of his artwork is around Tottenham.
You’ve also got the Bernie Grants Art Centre for something more structured, and Made by Tottenham, who organise all kinds of events around local creatives.
There’s Sainsbury’s and Aldi, but we do a lot of shopping at Nazar Supermarket. It’s Turkish, but has Carribean ingredients like jerk seasoning, coconut solids and plantain that aren’t always easy to find.
Next door is Ha Long Mini Market, an Asian supermarket that’s good for tofu and lime leaves. My husband has an allotment, but out of season we’ll go there for pak choi.
There are huge Turkish and Polish communities here. Cyrus is great for a quick gözleme — there’s a lady in the window who makes fresh ones all day — or really good baklava. I try not to go all the time.
Everything I need to live my daily life is within walking distance, but a bus will get you to the Victoria line at Seven Sisters in 10 minutes. We’re also really close to Northumberland Park station for the Overground.
To be honest, I Uber everywhere if I’m not driving. I’m trying to get rid of the habit — my bank account would be so happy.
There’s a row of cute little cottages next to The Antwerp Arms on Church Road.
We can see people abseiling down the side of the stadium.
The traffic is rerouted when the fans come through, so our road is completely cut off. It can be pretty disruptive. We wanted to have our wedding reception in our garden and the first question was, is it a match day?
Full and lively.
Simone Brewster has collaborated with the world’s largest cork producer, Amorim, to produce a series of statuesque cork vessels on the Strand for the London Design Festival 2023 (16 – 24 September, londondesignfestival.com).
Her display of diverse works for NOW Gallery at Greenwich Peninsula’s 2023 Design Commission, including furniture, painting, jewellery and sculpture, runs to the end of the festival (nowgallery.co.uk).
Holy Trinity CofE Primary School is rated outstanding by Ofsted, as is Harris Primary Academy Coleraine Park near Northumberland Park. Harris Academy Tottenham and London Academy of Excellence Tottenham are the local outstanding secondaries.
Buying in Tottenham
Average flat price: £325,850
Average house price: £527,140
Renting in Tottenham
Average flat price, pcm: £1,700
Average house price, pcm: £2,390
Source: Hamptons & Land Registry
When Cristiano Ronaldo was at the Al Nassr team’s mission headquarters in Tehran, he met one of his biggest fans, Fatimah Hamami. Hamami, who is 85% paralysed, has gained recognition for making stunning paintings with her feet. In many of her paintings, she has drawn the portraits of Ronaldo.
Hamami took to Instagram to share a video of her meeting with Ronaldo. As the footballer walks into the room, he hugs the artist and praises her artwork. Later, Hamami can also be seen donating two of her paintings to Ronaldo. In return, he gives her a No.7 Al-Nassr T-shirt that he had signed on. Both of them have bright smiles on their faces as they meet each other. (Also Read: Watch: Ronaldo fever hits Iran as football fans storm into Tehran hotel for rare glimpse of Champions League-bound CR7)
While sharing the video, Hamami wrote, “My meeting with Cristiano Ronaldo. God, thank you for making my dream come true.”
This post was shared on September 20. Since being shared on social media, it has already garnered more than one million views. The share has also received several likes and comments. Many posted how they were happy for Hamami to meet her idol.
An individual wrote, “How beautiful. We are glad you achieved your dream.
“A second added, “This news just made me really happy.”
“May you always be happy. Thank God that your dream came true,” commented a third.
A fourth said, “I am very happy for you, artist girl. May your heart be always happy.”
A fifth expressed, “When power, will, talent, and effort are combined, there is no limit to them.”
“Spectacular drawings are done with her feet of CR7! Disabilities shouldn’t Stop you from expressing yourself. Thank God for people like Fatimah,” shared another.
Several others have commented on the video using heart and clapping emojis.
Receive free Visual Arts updates
We’ll send you a myFT Daily Digest email rounding up the latest Visual Arts news every morning.
As a photographer and film-maker travelling to Trinidad each year to document Carnival until 2006, Zak Ové was struck by the jubilant self-expression of its masquerades. He realised, he says now, “I no longer wanted to be a documenter but a maker.”
Years later, Ové is known for multimedia installations as grand in scale as in ambition. His latest, “The Mothership Connection”, is a nine-metre-high pulsing blaze of colour and light — part psychedelic totem pole, part space rocket — and his largest work to date. Unveiled at Frieze Sculpture in London’s Regent’s Park on September 20, it will shuttle to the city’s Design Museum on November 23.
When we meet at Gallery 1957 in London, Ové says he made the work for a tropical sculpture park in Hawaii — a project thwarted by the pandemic. Conceived in his studio in Gran Canaria, it lay in pieces in storage outside London for three years, waiting for a suitable launch pad, before Gallery 1957’s Marwan Zakhem stepped in.
The 24 stacked pieces were partly inspired by a visit to Washington, DC, when Ové realised how “much of the city was built by slaves and indentured labour, but there’s nothing apparent of their contribution” — an invisibility that echoed his own diasporic experience of growing up in London in the 1960s and ’70s to a Trinidadian father and Irish mother. A tier of yellow-lit arched windows recalls Washington’s Capitol, while another section alludes to the Djenné mud mosque in Mali. The apex is modelled on the Mende helmet mask worn by female healers in Sierra Leone, “to represent a mother”.
While his robot-rocket owes something to Thunderbirds, “for my generation, a lot of heroes were musicians — rebellious, outspoken and championing our culture.” The title is taken from an album by the Afrofuturist funk group Parliament, a “massive influence on me in the mid-1970s” when “Star Wars was just out.” He saw Parliament’s George Clinton on stage in an “Afrofuturist rocket ship taking people between the past and the future”. For Ové, “we need full acknowledgment of our histories, who did what, so future generations can have a more real sense of how we’ve arrived.”
Pulsating lights and music make the sculpture “breathe”, while stainless steel, fibreglass and resin “give old-world traditions a new language”. He illustrates this idea by speaking about steel-pan music, born after African drums were banned by British colonial powers in Trinidad lest drummers inspire the enslaved to revolt. “There was colonial collusion to get rid of histories, memories. But with the development of the oil industry, the oil drum could be tuned to create the full orchestral scale. That’s an Afrofuturist moment: take a banned tradition and put in new-wave materials to shape things that would otherwise be extinct.”
His earlier carnivalesque sculptural installations have included the towering, ethereal “Moko Jumbies” (2015), steel stilt-walkers sprouting black and gold wings of metallic banana leaves — first seen in the British Museum’s Great Court and now in its African galleries — and “Black and Blue: The Invisible Man and the Masque of Blackness”. This installation of 40 identical seven-foot-high graphite statues, modelled on a wooden Kenyan sculpture, filled the courtyard of Somerset House during the 1:54 African art fair in 2016. A response to Ben Jonson’s 1605 masque in which Queen Anne and her entourage performed in blackface in the stately home, the site-specific work toured to Yorkshire Sculpture Park and San Francisco City Hall.
“Umbilical Progenitor” (2018), Ové’s sculpture of a parental astronaut with a child on his back, was shown in Get Up, Stand Up Now: Generations of Black Creative Pioneers, a landmark exhibition he curated at Somerset House in 2019 as a tribute to his father, the pioneering film-maker Horace Ové. (Horace died not long after we spoke.)
“Horace was very excited by my practice,” his son says, adding that, as a child, “I was dragged across India, Africa and the Caribbean,” learning at the director’s feet. Heritage is “massively important: Horace’s generation kicked down doors and demanded that black children be recognised. They made sure my generation would have a sense of self.” Now, “as a second-generation practitioner looking at their battles, I find a seed I might continue. It’s an honour and a huge responsibility to have been given the baton.”
Ové’s next public artwork pays homage to the Notting Hill Carnival in eight glass-mosaic panels for the Ruby Zoe hotel (previously Damien Hirst’s Pharmacy) in the area. Carnival, he exalts, was “emancipatory — you were able to criticise those in power and mock them.” In its traditions, as in his art, “we start with a victory, not pain.”
A Danish artist was ordered to pay just under £57,000 to a museum after giving them two blank canvasses for a piece he called “Take the Money and Run”
Jens Haaning was meant to embed the 500,000 Danish Kroner in banknotes he got from the Kunsten Museum in Aalborg into the framed fabric .
Instead, he pocketed the cash and handed over two empty, white canvasses. “The work is that I have taken their money,” he told local media.
The 2021 art project was meant to be a statement on salaries in Denmark and Austria but drew a demand from the museum for the artist to return the £61,000 it had given him.
Mr Haaning, 58, refused, which led to a long legal battle over the blank frames, which the museum exhibited.
On Monday, a court in Copenhagen ordered him to refund the museum, but said he could keep roughly £4,000 of the cash for his expenses and artist’s fee.
After his defeat, Mr Haaning, whose work focuses on power and inequality, told the dr.dk website he would not be appealing the judgement.
“It has been good for my work, but it also puts me in an unmanageable situation where I don’t really know what to do,” he said.
He told a local TV broadcaster that the museum had made “much, much more” money than it had paid him because of the publicity around his cheeky artistic caper.
The conceptual artist was commissioned to recreate two earlier works that used banknotes fixed to canvas to show average incomes.
Museum director Lasse Andersson said that he had laughed out loud when he saw the artworks in 2021.
“He stirred up my curatorial staff and he also stirred me up a bit, but I also had a laugh because it was really humoristic,” he told the BBC at the time.
But he also told the Guardian, “We are not a wealthy museum.…We have to think carefully about how we spend our funds, and we don’t spend more than we can afford.”
At the time, Mr Haaning told local media, “The work is that I have taken their money. It’s not theft. It is breach of contract, and breach of contract is part of the work.
“I encourage other people who have working conditions as miserable as mine to do the same. If they’re sitting in some sh—y job and not getting paid, and are actually being asked to pay money to go to work, then grab what you can and beat it.”
The post Danish artist ordered to repay museum for exhibiting blank canvases appeared first on The Telegraph.