Art & Culture 18 Dec 2018

artist klimkouski kicked out of miami art show

Artist Yaraslav Klimkouski was kicked out of the Miami Art show Spectrum. On Dec. 5th, 2018, Key West based Artist Yaraslave Klimkouski was removed from the art show Spectrum in MIami during the Art Basel Miami week. Miljonet was there to see Klimkouski do his "live perforance" on his booth at Spectrum, when the situation was getting out of hand. Klimkousky was in full trance when he was painting and the spectators could see him work and putting all his passion and anger into the creative process. Paint was flying around his booth reaching the spectators and unfortunately also ruining a $1000,00 Gucci dress and it was also on the floor, walls and on the art of the surrounding galleries. The crowd went wild and was bidding on his work until the organisation asked the artist to stop because of the damage and complaints from the other galleries. Klimkouski got so angry and decided to throw paint to everyone that was around him, including the surounding gallery booths. When he decided to also paint the floor, it became too much for the organisaion and Klimkouski was arrested and removed from the exhibtion. The rest of the art week the booth of Klimkouski remained closed. His 3 years of preperation for this show was ruined in only one hour; However the artists (aka "the artist that was kicked out of Spectrum") reputation went sky high. He was the talk of the town and it definitely increased the value of his work. He was the most talked about artist in Miami. Miljonet is currently in touch with the artist in order to get a piece of artwork of the exhibition to offer for sale on Miljonet. About the Artist: In December 2012 he had his first exhibition at the artistic district of 5th Av. New York City The Artist: "Now I'm just trying to be myself and When I paint, I try to project myself onto the canvas – nothing fake, just the trut"h. "I try to project my life, my emotions, my mind, creating a subjective but true vision of reality and feelings." "My paintings are studies in contrasts. They take the form of “arguments” – struggles between my spiritual side and what I call the “side of true existence.” I never try to ignore the darker side of my unconscious mind – I am unafraid to face, express and challenge my own imperfections, weaknesses and moral destitution in my art, with the aim of better understanding myself and society"

Art & Culture 27 Nov 2018

we are the children - directors cut.

Directors cut of We Are The Children which combined solidarity of cultural differences and music between the Children of the Apulia region, Italy and X2 orphanages in Kenya which we visited and included donations of over 120kg.In this trailer it tells the story of Walter of which if it hadn’t have been for Dream Children’s Home, he would not be alive today. It also includes the charity WEEP “Women Equality Empowerment Project” which helps ladies with HIV encourage them back into society, teaching them crafts, jewellery making and so much more. Thank you for your visit.

Art & Culture 14 Nov 2018

rene magritte set a record for his work

Belgian surrealist Rene Magritte set a record for his work at a Sotheby's auction in New York. New York: A painting by Rene Magritte sold for $26.8 million Monday at a Sotheby's auction in New York, setting a record for a work by the Belgian surrealist.The painting entitled "Le principe du plaisir" topped the price fetched by "La corde sensible", which was sold in February 2017 in London for $17.9 million.Sotheby's had estimated the painting sold Monday as being worth 15 to 20 million dollars. It said seven collectors -- an unusually high number -- bid for it.Other paintings on offer on the second night of the autumn art auctions in New York also surpassed their estimated value."Improvisation on Mahogany" by Russian-born Wassily Kandinsky, fetched $24.2 million, compared to its pre-sale estimate of 15-20 million dollars.A painting that was supposed to be one of the main attractions of the auction failed to lure a buyer.It was Marsden Hartley's "Pre-War Pageant", considered to be one of the first totally abstract works in the history of American art.It was estimated at $30 million, nearly five times the record for that US painter.On Sunday, the Vincent Van Gogh Painting "Coin de jardin avec papillons", estimated at $40 million, went begging at a Christie's auction of Impressionist and Modern art. 

Art & Culture 29 Oct 2018

audemars piguet will present albedo

AUDEMARS PIGUET WILL PRESENT ALBEDO— A NEW ARTWORK BY TOMÁS SARACENO FOR AEROCENE—AT ART BASEL MIAMI BEACH 19 October 2018: Audemars Piguet is delighted to announce a new artwork imagined by Berlin-based artist Tomás Saraceno for Aerocene. His sustainable, site-specific installation Albedo will be unveiled at Art Basel in Miami Beach on the oceanfront sandlot across from Collins Park, on December 5–9, 2018.  Albedo is a large-scale temporal pavilion developed by Saraceno, comprised of approximately 40 reflective, out-turned umbrellas. Together, the parabolic structures create a large hemispherical sundial on the Miami Beach oceanfront. Seen from above, these experimental structures form an impressive geometric constellation, transforming the usual shielding purpose of umbrellas into a community act to protect the thermodynamic balance of the Earth. The solar energy harnessed is used to lift Aerocene’s iconic aerosolar sculpture, the Aerocene Explorer, into the air. These floating sculptures imagine a new aerial infrastructure that demonstrates the possibilities of an ethical, fossil-fuel-free movement in the atmosphere, while challenging and redefining a global right to mobility.  Saraceno’s Albedo resonates strongly with Audemars Piguet’s long-term commitment to environmental sustainability. Albedo stems from Saraceno’s long-standing vision of Aerocene, an interdisciplinary artistic and scientific endeavour visualising ethical collaborations with the environment, embodying newly developed aerosolar technology devised by the multidisciplinary collaborators and scientists of the Aerocene community, supported by the Aerocene Foundation. Since 1992, the Audemars Piguet Foundation has been dedicated to the cause of worldwide forest conservation through environmental protection and youth awareness-raising programmes organised with local communities. In this way, the driving concerns of Saraceno’s aerosolar investigations resonate with the aims of the Audemars Piguet.  Foundation, as Tomás Saraceno shared: “Our mutual interest in preserving our planet for future generations makes our collaboration in Miami Beach all the more meaningful.”  Albedo by Tomás Saraceno for Aerocene is separate from Audemars Piguet’s Art Commissions (the most recent edition of which was presented earlier this year at Art Basel in Switzerland). However, Albedo bears a strong kinship with other artistic projects raising ecological awareness commissioned by Audemars Piguet and presented at Art Basel Miami Beach, including the 2017 Audemars Piguet Art Commission Slow-Moving Luminaries by Lars Jan, and Theo Jansen’s 2014 Strandbeests, an artistic project in collaboration with the Peabody Essex Museum. Similar to Albedo, these installations investigated fundamental questions about our shared social and ecological future in the form of interactive, experiential, participatory installations marked by a high degree of technological complexity and precision. The Miami Beach oceanfront is, therefore, an inspirational venue to share Albedo with an international public to probe issues of urgent historic and cosmic relevance, and move towards a new Epoch of post-extractivism, the Aerocene.  Albedo is highly interactive and has been developed with specific sustainable functions. Visitors are invited to participate in this immersive artwork that hosts performative experiments in tune with Miami Beach’s usually sunny December weather, including community solar cooking—a first within an Aerocene project, which represents a new visionary method of communicating the intrinsic multifunctionality of solar energy. Aerocene Explorer backpacks will also be available for visitors to fly on Miami Beach. A series of talks presented by Saraceno, the Aerocene community, and Audemars Piguet will be hosted throughout the week. Additional details on all programming is forthcoming.  As Olivier Audemars, Vice President of the Board of Directors, commented: “When the opportunity to support Tomás in creating a new artwork presented itself, we knew we had to bring his vision to life. Tomás is a master craftsman and similar to how we view ourselves at Audemars Piguet. A term like ‘artist’ doesn’t necessarily encapsulate the complexity of his work or vision. He is also a scientist, master connector and champion of the environment. The artwork in Miami Beach this December will take the art projects Audemars Piguet has directly championed to a new height.”  In parallel with the presentation of Albedo in Miami Beach, a major solo exhibition of Saraceno’s work, ON AIR, is taking place at the Palais de Tokyo (Oct 17, 2018 – Jan 6, 2019), and focuses his ongoing innovative research on the environment and cosmos. The exhibition includes a prototype for Albedo as well as detailing on the work of the Aerocene Foundation within the installation.

Art & Culture 06 Aug 2018

blockchain in the art world: the pros and cons

Blockchain in the art world: the pros and consThe technology could improve efficiency and transparency but it poses questions about the future of dealers and auction housesFor Sylvie Gleises, head of marketing at insurer Axa Art, the problem is all too familiar. A fire sweeps through the home of an art collector, reducing their treasured hoard to ashes. But they find that not only have the much-loved artworks gone up in flames, so have their documents of ownership, tucked away in a drawer in the same home. Proving the collector’s ownership rights now becomes considerably harder. But what if the history and proof of their purchases, the provenance of works in their collection and all related legal and insurance documents were held on a permanent, trusted database to which the collector and trusted advisers could gain access via a secure key? “If you have all the certificates and no questions about provenance and authenticity, then it’s easy for us to settle the claim,” says Gleises. This is one example of the potential benefits of the distributed ledger technology — otherwise known as blockchain — currently animating a wave of entrepreneurship in finance, healthcare, manufacturing and the art world. Used since 2009 to underpin the cryptocurrency bitcoin, blockchain allows a transaction to be permanently recorded on a database shared between computers, without relying on a third party to authenticate or process it. Immutability and security are written in to blockchain; when no single authority is in charge of the ledger, no one may remove entries or fiddle with them. It could bring efficiency and transparency to the buying and selling of art, currently a fragmented and opaque marketplace. But it also poses some searching questions about the future of the dealers and auction houses accustomed to carving off a profit: the market’s traditional middlemen. Christie’s, the venerable 252-year-old auction house, is one of the last institutions one might expect to embrace the potential of this disruptive technology. But last week it brought together technologists, art experts, entrepreneurs, financiers and lawyers at its London showrooms to discuss how blockchain could redefine processes and relationships in the art market. Anne Bracegirdle, a specialist in Christie’s photographs department, said blockchain had a “potentially revolutionary impact on our business” in its ability to host all data about an object or artwork, from catalogue details, sale prices and provenance, linked to invoices and certificates of authenticity. In her view, it reduces the room for human error, boosts trust and therefore could tip hesitant buyers and sellers over the line. “Property titles and full provenance are often missing, and that information can make or break a sale.” Digital artists are particularly captivated by the possibilities of blockchain. The market for art created to exist on a screen has suffered from the ease with which it can be replicated. But blockchain allows artists to create digital editions of their work — just as photographers create a limited number of prints — and ensure that ownership can be tracked and verified. Smart contracts — an innovation of the Ethereum blockchain on which nearly all art-related blockchain activity is taking place — also allow them to make more money out of their work, even perhaps selling portions of their work on blockchain, bringing fractional ownership to the art market. Digital art, however, is where incumbent companies appear especially vulnerable, since the role of the dealer or auction house in authenticating art, judging value based on previous prices, researching provenance and bringing together buyers and sellers could become redundant when all that information is held on a blockchain. J ohn Zettler, president of Rare Art Labs, a digital gallery for artists, says: “A simple coding script could ask where this artist has already sold and where this particular piece has sold in the past. There would be no concern about the authenticity of the piece — and no real need for a physical location where buyers and sellers gather.” One of the pioneers of blockchain-based digital art is Matt Hall, co-creator of “cryptopunks”, a series of 10,000 unique digital artworks in the shape of pixelated heads that he and his business partner released on Ethereum last year. They no longer control the art; it has taken on a life of its own, with rare cryptopunks changing hands for the equivalent of thousands of dollars.While he sees the experiment as an unexpected success, Hall says it raises “tricky questions” about people’s willingness to buy art that only exists online. Debate also rages about the technical question of where the digital art should reside. Since keeping work on the blockchain itself is expensive, it is typically used to host a proof of ownership and a link to the work itself on a separate third-party site. Purists say that offends the principle of independence that is the point of the technology; it also leaves owners vulnerable to the possibility the third-party company could go out of business, putting their art out of reach or even destroying it. Few deny that dealing with blockchain is currently tedious: users have to go through the process of acquiring a “digital wallet” and negotiate a barrage of technical jargon. For art entrepreneurs wishing to launch services on Ethereum, the price of engaging with the network to set up or make changes to data — known as the “gas price” — is also painfully volatile. “There are so many rough edges. You can’t plan for success by buying a bigger server. You don’t control the servers and you can’t call the helpdesk,” Hall says. Others worry that data held on blockchain will fall foul of the European general data protection regulation (GDPR) that came into force in May and has required monumentally complex and expensive preparations on the part of big corporations. Richard Entrup, Christie’s global chief information officer, says doubts over blockchain’s compliance with GDPR were an “aha moment” for him. “It immediately takes it off the table for a number of applications,” he says. Christie’s is nonetheless exploring the technology’s potential, with hints of an as-yet-undisclosed blockchain initiative coming soon. For some, the lack of a central authority overseeing the Ethereum blockchain is both its central appeal and its Achilles heel, since it leaves unanswered questions about what happens in the event of disputes. This is particularly acute where the blockchain is linked to artworks in the physical world. When that fire rips through the luxury apartment, who is in charge of telling the blockchain that the items in question are gone? “If a trusted party is required to do that, then how decentralised is the system really, and how different is it from doing it the old-fashioned way?” asks Hall. The need for expertise in navigating these dangerous shoals means, for the time being at least, that dealers and auction houses are likely to have a role to play. Gleises also believes they have other reasons to keep a tight grip on the market. “There are plenty of intermediaries who don’t have any interest in change. It’s a very small market, and very profitable for some. Who is going to be willing to let go of some of the margin for the market to grow?” By James Pickford FT 

Art & Culture 04 May 2018

bespoke luxury glass by ef art stained glass & des

Stained glass is an element of decor or exterior of the building, which consists of many pieces of art glass and is designed to fill the openings or bulk forms, taking into account the transmission or reflection of light. In Studio EF ART Stained glass & Design we putting all those pieces of glass in an ultimate luxury story of the glass and art. Modern designers are happy to use stained glass designs and bright color compositions. Stained glass windows, doors, and wall panels decorate closets and hallways, kitchens, bathrooms, bedrooms and staircase designs today.Also, stained glass compositions adorn modern ceiling designs and add gorgeous colors to decorative room dividers and partition walls. Combining pieces of glass of different colors can dramatically change the space perception, harmonize home decorating and add elegance to any interior design style. The flow of light through the material is, of course, crucial to the breathtaking effect of colored glass. The beauty of glass is in truth the beauty of light. Light is a medium that, like music, finds its way directly to the soul. We all are familiar with the magical qualities of the medieval stained glass, but the modern and contemporary glass are equally successful in provoking wonder, capable of surprising but in a completely novel language, which is more in tune with our times.   Pencils and watercolors: Weeks, months go into the making of a new stained glass window. However, it all starts with a great idea, a pencil and watercolor drawings in the design atelier. The main purpose and philosophy are to inspire customers with a finished project that goes beyond the expectation, producing unique and individual design results.  Shiny shades and hues: Various types of glass are carefully examined and hand-picked to best translate the beauty of the design into a unique hand-crafted project. Elena Sigmund is an artist and designer from Russia currently based in Europe/Slovenia. She is the art director of the EF ART Stained Glass & Design which is specialized in the stained glass window and interior made to order. By looking at her work we get the impression that the picture form glass starts to be alive and colorful light vibrates we sailed into a divine fairy tale.  www.ef-art.net 

Art & Culture 05 Mar 2018

gems of historic photography in tours

Gems of historic photography in Tours (France)Always keen to discover hidden cultural hotspots we visited the city of Tours, in the middle of France, a few times because of the extraordinary photo exhibitions presented in the Château de Tours, the old castle of the city. Since 2010 the local government and the Jeu de Paume National Gallery are collaborating on exhibitions devoted to historic photography. Exquisitely presented shows with the work of Andre Kértész, Vivian Maier, Robert Capa, Sabine Weisz, and Willy Ronis, just to name a few, have attracted the photo connoisseurs to visit the university city along the river Loire.At the moment the French photographer Lucien Hervé (1910 - 2007) is honored with an exhibition under the title ‘Geometry of Light’ in the castle’s rooms, proving he was really a magician playing with shadow and light. This exhibition at the Château de Tours pays tribute to this photographer for architects, most famous for his work for Le Corbusier, by juxtaposing, as he did, the universal and the timeless, the ancient and the modern, the abstract and the human.“My conception of photography is, on the surface, very straightforward: it seeks traces of humanity everywhere. Which may seem strange to people who go to my exhibitions. Indeed, almost all my photos avoid including any human presence in the buildings. However, I try to express that presence through the work accomplished by man”, wrote Hervé in a letter in 1964. And it is true, although the abstract forms of architecture are dominating the first impression when looking ar his photos, the human presence is always near. That is one of the fascinating aspects of Hervé’s work.Two exhibitions a year at the Château de Tours are only a small part of the activities of Jeu de Paume, the organization that presents lens-based art from the 20th and 21st century in Paris. Lovers of historic photography must mark a date between 16 October and 27 January 2019 in their agendas because then a large retrospective of Dorothea Lange, photographer of iconic images of the Great depression, will be on Display at Concorde in Paris.Visitors of Tours and surroundings can visit the Geometry of Light exhibition till 27 May, 2018. The Château de Tours is open Tuesday till Sunday from 2 PM till 6 PM.

Art & Culture 06 Feb 2018

a white man serving a black star

It is February 1953. Germany, Seven and a half years after WWII. In the lobby of the Atlantic Hotel in Hamburg Norman Granz, promoter of the successful Jazz at the Philharmonic concerts, is meeting with his stars of the sold out Hamburg Jazz at the Philharmonic evening at the Ernst Merck Halle. For the first time Ella Fitzgerald is performing in Europe, together with ‘the white Charly Parker’ Flip Philips, Lester Young, Oscar Peterson, drummer Gene Krupa and Ray Brown on bass.Young female photographer Susanne Schapowalow, who made this photo, started taking pictures at jazz concerts after she was introduced to the jazz scene by musician and jazz radio show host Olaf Hudtwalker in 1948. She fell for the music and she fell for the musicians. As a professional photographer for German magazines, shooting cover photos portraying famous politicians, scientists and artists, she knew how to work with stars. But Susanne Schapowalow felt that something new was afoot and wanted to hear the new jazz music and be as close as possible to the musicians. With her Dior-like look she couldn’t be overlooked by the black musicians that visited Germany after the war thus making it possible for her to become friends with some of them and enter the dressing rooms and hotel rooms. Ulla Fröhling describes Susanne’s entrance into the world of jazz breathtakingly in her foreword in the book Sophotocated Lady.So, in February 1953, Duke Ellington, Eartha Kitt, Louis Armstrong, to name a few, all knew Susanne Schapowalow. They were used to the sophisticated female German photographer. Probably Susanne Schapowalow wasn’t aware of the fact that this photo she took in the lobby of the Atlantic Hotel was very special. She just made a portrait of the promoter and his artists. And she made it for personal use only - never were her jazz photographs published until 2009. Now we can conclude that the fact that Ella Fitzgerald, being a black female coming from a 100% segregated USA, is served here by a white waiter makes this a historical shot. That puts an extra quality to this already special portrait.5 prints of the limited edition of 10 were sold in Germany after Susanne Schapowalow's grandson Felix discovered the secret music archives of his grandmother in 2009 and organized a show in Berlin. One of these prints can be seen in the Ellington Hotel in Berlin that bought 110 different prints when they came to the market. We sold the signed 6/10 to a collector in Southern France. Maybe 7/10 is still available in Germany with Susanne Schapowalow's daughter. We think the numbers 8 to 10 have never been printed. For collectors interested we can check with the family...

Art & Culture 04 Jan 2018

gg/2018 kicking in grand time!

GG/2018 KICKING IN GRAND TIME!Again & Again From us All At GALVANO GROUP A HapPY 2018 with Joy, Sparkles & Prosperity! GALVANO GROUP gets u access to→A mountain  of services around the World!Here are some upcoming Events & Experiences  for u to look at as The New Year Begins In NYC & The USA! Contact, Details:office@galvanogroup.comwww.galvanogroup.comwww.galvano-iridium.comFollow us on : https://www.miljonet.com/b/galvanogroup/viewhttps://www.facebook.com/galvanogroup/ January 7th 2018: Golden Globe Awards (Los Angeles)-Private Screening Parties-Celebrity Gifting Lounges-Network After PartiesJanuary 18th – 28th: Sundance Film Festival (Park City, Utah) -Premieres & Screenings-Private Mansion Premiere After Parties-Celebrity Gifting Lounges & Suites-Access to Sold Out Four & Five-Star HotelsJanuary 28th: 60th Annual Grammy Awards (NYC)-Clive Davis Pre-Grammy Dinner & Party-Awards Ceremony & Official After Party-Red Carpet -Record Labels After PartiesFebruary 4th 2018: Super Bowl 2018 (Minneapolis, Minnesota)-Tickets to the Big Game (All Seating Categories Available) -On Field Access (Halftime & Post-Game) -Player Meet & Greet -Private Party Access (Rolling Stone, Playboy, Direct TV & More) -Access to Sold Out Four & Five-Star HotelsFebruary 8th-16th 2018: New York Fashion Week (NYC)-Access to Designer Runway Shows-Backstage Tours & Designer Meet & Greets-Private Shopping at Designer Stores -Private Event & After Party Access&…. VIP Broadway Experiences (Premium Tickets, Backstage Tour, Cast Meet & Greet)HamiltonHello DollyDear Evan HansenAladdinLion KingWickedKinky BootsMany More..&....LIVE Talk Shows Available (VIP Producer Seating & VIP Entry)Saturday Night Live (NYC)Jimmy Fallon Live (NYC)The Voice (Los Angeles)John Oliver (NYC)Jimmy Kimmel (Los Angeles)James Corden (Los Angeles)Ellen Live (Los Angeles)Graham Norton (London)

Art & Culture 21 Dec 2017

7 ème art

7 ème Art7ème Art est une conciergerie dédié au 7 ème Arts .artistes, les agents d’artistes, les tourneurs, les producteurs, les magazines, les mannequins, les réalisateurs, les stylistes, les maquilleurs, les sportifs, les coiffeurs, les peintres, l’ ingénieur son, l’ingénieur des lumières, les musiciens, les comédiens, les chanteurs…pour vous tous c’est un gain de temps, une facilité, ouvert 24h/24h 7j/7 avec une possibilité d’avoir son concierge sur place.7 ème Artc’est la première personne à contacter si vous avez besoin, d’une caméra, d’un micro, d’une location de studio, une organisation de tournée ou de concert , d’un Taxi, une location de Van pour concert ou d’un Bus tour, une location de voiture, réservation de billet d’avion, l’organisation des transferts, repas sur place ou en livraison, de la presse, d’un massage avant concert, d’une assistance médicale rapide, bref votre société de conciergerie privée est là.Nous avons fait le choix de nous consacrer uniquement à l’artistique, nous travaillons des ingénieurs, des photographes, des maquilleurs, des réalisateurs, des producteurs, des tourneurs.7 ème Art est la conciergerie Artistique pour vous servir pour améliorer votre quotidien .Cette année, sur la Côte d'Azur et Monaco, C5's a créé pour vous "LE REVEILLON " .Sparkling gift for a christmas surpriseSparkling gift on a festive bokeh background for a christmas surpriseC5's vous présente des réveillons de rêves. Selon vos désirs, le lieux, le nombre de vos invités, nous sommes là pour vous conseiller et vous présenter l'unique expérience.Villas privées, Hôtels 5 étoiles ou palaces, n'hésitez pas, contactez nousCette année, sur la Côte d'Azur et Monaco, C5's a créé pour vous "LE REVEILLON " .LE REVEILLON DE NOËLCHARTER DE RÊVE: 4 nuits / 5 jours à bord d'un somptueux yacht de 60 mètres au large de Monaco. Diner de réveillon présenté par son Chef. "TARIF EXCEPTIONNEL" !!!Pour des raisons de confidentialité et de sécurité, les photos du yacht ne seront présentées que sur demande réelle du client. (la photo ci-dessus n'est pas celle du charter). La durée des séjours peut être plus longue. Chaque séjour sera organisé selon les désirs du client."Le sur-mesure pour le client privilégié" Vous êtes unique, nous le serons pour vous.contact@c5s-luxury-services.comA découvrir:LE TEMPLE DU LUXE www.c5s-luxury-services.comhttp://7-eme-art.cam

Art & Culture 13 Dec 2017

johnny hallyday

                                            TRIBUTE TO A NATIONAL TREASURE & A GOLDEN VOICE→JOHNNY HALLYDAY                                                                                               1943-2017                                                   https://www.youtube.com/watch?v=-TkrMyXYbik&list=RDEMrfSvg83vr6CH7EDxqsylXw  

Art & Culture 13 Dec 2017

2018-casanova grand ball-the pleasure garden

 2018-CASANOVA GRAND BALL-THE PLEASURE GARDENSaturday February 10th 2018Venice, Italy GALVANO GROUP gets u access to a→ beautiful & magic Venetian Palace close to th Basilica dei Frari. Starts at 8.00 pm, in the courtyard with a cocktail with a performance by our local artists, followed by a diner in the Grand Hall.11.30pm starts the -Gran Ballo in Maschera- with renown DJ Andrea along with dancers involving you in the -Minuetto- in an overwhelming show till 3.30am. Ongoing open bar service with drinks, hot drinks & sweet treats such as Venetian frittolle & galani (traditional carnival sweets in Venice).An extraordinary masked ball's adventure: Casanova Love Experiences &  Forbidden Games…..Grand Ball will be held in the majestic & picturesque setting of the noble Venetian Palace.A Magical Adventure….. & Much More!…. DRESS CODE PERIOD COSTUME.Our Partner/Atelier realizes Venice’s Carnival Costumes!→Exact reproductions of most elegant & extravagant XVIIIth & XIXth cnetur’s fashion style. All new costumes, top quality !The collection includes 200+ costumes. Cocktail, Diner & After Diner Options Contact, Details:office@galvanogroup.comwww.galvanogroup.comwww.galvano-iridium.comFollow us on : https://www.miljonet.com/b/galvanogroup/viewhttps://www.facebook.com/galvanogroup/ 

Art & Culture 11 Dec 2017

16th edition of art basel in miami beach

The 16th edition of Art Basel in Miami Beach concluded with strong sales and high praise for the new floor plan and show design. December 10, 2017, Art Basel’s 16th edition in Miami Beach closed following strong sales across all levels of the market and robust attendance from international collectors and institutions. This year's show saw the debut of a new floor plan and show design, which was widely praised by exhibitors and collectors alike. The show, whose Lead Partner is UBS, featured 268 premier galleries from 32 countries, who presented outstanding works, ranging from Modern masterpieces to contemporary painting, sculpture, performance, photography, works on paper and film – some of which were created specifically for the fair. Across the five show days, the fair attracted an attendance of over 82,000, including influential collectors, directors, curators, trustees and patrons of leading international museums and institutions.See pictures for an impression of the 2017 show..

Art & Culture 06 Dec 2017

gg/my yacht group-art basel-miami beach marina

GG/MY YACHT GROUP-ART BASEL 2017-MIAMI BEACH MARINAThursday December 7th- Sunday December 10th 2017 GALVANO GROUP gets u access to →My Yacht Event  with  its 7th annual charity reception during Art Basel, in partnership with Vontobel Swiss Wealth Advisors AG, aboard its magnificent  54m Yacht Noble House, with Bermuda Business Development Agency, Tockr, Zeelander Yachts, IYC, Perrier-Jouët, Château d’Esclans, Rebecca Creek at Miami Beach Marina. The evening will again welcome Art Basel VIP Collector’s Circle members, Institute of Contemporary Art Board of Trustees, Founders & Patrons, plus international Art Collectors, Artists, Gallerists, Influencers, HNW guests…..& Much More! Contact, Details:office@galvanogroup.comwww.galvanogroup.comwww.galvano-iridium.comFollow us on : https://www.miljonet.com/b/galvanogroup/viewhttps://www.facebook.com/galvanogroup/  

Art & Culture 02 Dec 2017

gg/art basel miami beach 2017

ART BASEL MIAMI BEACH 2017Thursday December 7th-Sunday December 10th 2017 GALVANO GROUP gets u access To →ART BASEL bringing Arts to all Ages, Shows, Offers, Services in Beautiful Miami-Florida…..& Much More! →All Access PassesVIP First Choice- Fair Pass.VIP Cocktail Party Access.Exhibit Preview Night- VIPS & Celebs.VIP Lounge Access.VIP Line Access.Special Party Access -VIP holders.VIP Pass Holders -VIP Entrance -VIP Lounge.South Beach Events.VIP Cocktail & Exhibit Party. (Held a Day before Public Opening). IncludesDecember 5th: Welcome ReceptionDecember 6th: First Choice/Preview OpeningDecember 7th: VernissageAdmission to Art Basel Collectors LoungeAdmission to Design Miami &...TBD!Ricky Martin & Eva Longoria Gala at Nobu Eden Roc Contact, Details:office@galvanogroup.comwww.galvanogroup.comwww.galvano-iridium.comFollow us on : https://www.miljonet.com/b/galvanogroup/viewhttps://www.facebook.com/galvanogroup/ 

Art & Culture 14 Nov 2017

slow-moving luminaries by lars jan

SLOW-MOVING LUMINARIES BY LARS JAN FOR THE 3RD AUDEMARS PIGUET ART COMMISSION.  Le Brassus, 26 October 2017: Haute Horlogerie manufacturer Audemars Piguet is delighted to announce the details of its 3rd Art Commission, realised by Los Angeles-based multidisciplinary artist Lars Jan, in collaboration with artistic director and guest curator Kathleen Forde. The large-scale immersive installation entitled Slow-Moving Luminaries will be shown this year at Art Basel in Miami Beach.   Audemars Piguet will unveil its 3rd Art Commission on the Miami Beach oceanfront to coincide with Art Basel in Miami Beach (6-10 December 2017). The Audemars Piguet Art Commission’s aim is to contribute to global artistic innovation by supporting artists who explore ideas related to complexity, precision, technology and science. Audemars Piguet not only provides the financial support to develop and present each project, it also gives the selected artist access to the advanced tools, craft expertise and sophisticated technology necessary to realise the finished artwork. Slow-Moving Luminaries will take the form of an immersive and kinetic large-scale pavilion that will host a labyrinth within. Presented on a site spanning 100 by 50 feet, the work will invite viewers to partake in a journey across its upper and lower decks. Standing in stark contrast from one another, the lower deck will boast an extravagant maze of scrim and flora, and the upper deck a shallow, reflective pool of water, through which building models that mimic the surrounding skyline will emerge and recede in concert, but at varying speeds throughout the day. The artist notes: ‘It’s a visceral response to the water — I find it exquisitely beautiful, but I have a kind of anxiety about it. I came into this commission thinking about time, but also the cycles of the planet versus the cycle of human behaviour and our built environment — the changing of our world converging with the changing of the biosphere’.  This major new work will examine the oscillating conflict between an individual’s state of meditation and that of crisis—both internal and external. Within the work, Jan will manipulate scale and temporality, presenting viewers with a reality that can be experienced beyond the day-to-day and allowing them to become participants, choreographing the experience freely. Jan comments: ‘the 3rd Audemars Piguet Art Commission will see its viewers act as performers, becoming a part of the piece as they interact with it. The performance will be spontaneous and remain unscripted, allowing the viewers to set their own pace. This is the first time I will not have control over my performers’ movements. The piece will be totally experiential for the viewer and go beyond the simple act of contemplation’.  Lars Jan was one of seven artists invited by guest curator Kathleen Forde to submit an idea for the 3rd Audemars Piguet Art Commission, four of whom were shortlisted for the Commission. The shortlisted artists were invited to the Valle?e de Joux in Switzerland to familiarise themselves with the brand’s origins and values. Known for his cross-disciplinary experiments in performance, art, and technology, the artist Lars Jan describes his collaboration with Audemars Piguet saying: ‘They’re really courageous — they put the art first and value the concepts and ideas that are part of the work’.  Kathleen Forde, guest curator of the 2017 project speaks of the artist as ‘the perfect fit for this year’s Art Commission. His art mirrors the complexity, precision, technology and science that defines Audemars Piguet’. Olivier Audemars, Vice-Chairman of the Board of Directors, says: ‘As a company, we want to be transformed by art. Artists have a capacity to see things differently; as if they have special glasses that one can borrow and see what they can see’. He reflects on the upcoming project: ‘One of the reasons we were so impressed by Lars’ [work] is that it’s quite strongly linked to something that we know: our environment is very fragile. We are just a little part of the history of the earth and the universe, and it’s up to us to find a solution to continue to exist’.  

Art & Culture 07 Nov 2017

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Art & Culture 04 Oct 2017

gg/ bfi-london film festival 2017

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Art & Culture 19 Sep 2017

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Art & Culture 13 Sep 2017

art basel cities: buenos aires

Art Basel Cities: Buenos Aires Art Basel and the City of Buenos Aires are delighted to share details of the first Art Basel Cities initiative. A long-term collaboration, Art Basel Cities: Buenos Aires has been set up to support the city's cultural ecosystem including artists, galleries, not- for-profit spaces and public institutions and to highlight its vibrant cultural scene, promoting it to a global audience and Art Basel's extensive network. In 2017 the partnership will focus on providing structural support to the local art community with the launch of the Art Basel Cities Exchange, comprising several initiatives to help facilitate professional collaborations, catalyze support for cultural projects, and to strengthen the local artworld. Next year in September, Art Basel Cities: Buenos Aires will launch a week of public art programing directed by Cecilia Alemani, which will take place throughout the city.   To celebrate the launch of these first elements of Art Basel Cities: Buenos Aires and to share further information about the partnership, Art Basel Cities will set up the Art Basel Cities House in Buenos Aires. From November 2 to November 5, 2017, the Art Basel Cities House will host a series of events and workshops and will launch a talks series to take place throughout the year, in which local cultural partners will be invited to collaborate and participate, and to learn more about the future program. Further partners will be selected in the next few years to be part of the wider Art Basel Cities initiative. In addition, Buenos Aires will welcome an international delegation of artworld professionals including collectors, curators, and directors of museums and not-for-profit spaces, discovering and engaging with the vibrant local art scene during that week.  Underlining the durational aspect of the multi-year partnership, Art Basel and the city of Buenos Aires have initiated the Art Basel Cities Exchange to help support and strengthen the local art scene on a long-term basis. As Art Basel started working closely with key stakeholders in Buenos Aires to define the city's needs, it became clear that the first elements of this collaboration should support the City of Buenos Aires' own initiatives to help develop the key structures of the city's cultural scene. While first elements of Art Basel Cities Exchange such as the Project Bureau, an internship program and crowdfunding campaigns are launching this fall, further elements will be rolled out on an ongoing basis throughout this partnership.  Over the coming months and years, the Art Basel Cities Exchange will host residencies around the world for Argentine professionals working in the arts: from internships and curatorial residencies to artist exchanges and mentorships. This November at the Art Basel Cities House, the City of Buenos Aires will host an open call for an internship program, placing young artworld professionals from Buenos Aires with leading galleries from across the world. Further information on the application process will be shared at the Art Basel Cities House this November and will then also be available online.  Further initiatives of the Art Basel Cities Exchange include the setting up of Project Bureau, a digital platform that aims to connect international art professionals with the local art scene to realize large-scale projects in Buenos Aires. From November onwards, artworld professionals will be invited to apply with either new project ideas or specific  needs concerning existing projects to the Project Bureau. These will be reviewed by a committee consisting of Argentinian and international experts. Successful applicants will then be connected with potential partners in the Buenos Aires cultural landscape.  Furthermore, the Art Basel Cities Exchange will put in place a number of structures to enable organizations, individuals and institutions to catalyze support and build resources for new projects. In this context, Art Basel's Crowdfunding platform will be activated to support not-for profit institutions in Buenos Aires in realizing a wide variety of artistic projects, including exhibitions, public installations, films, artist books, education programs, artist residencies, talks programs, archives, libraries, and other innovative projects. Art Basel is now actively reaching out directly to not-for profit institutions in Buenos Aires and is guiding them through the application process, with the first crowdfunding projects from Buenos Aires launching in October. Further information on the application process can be found on artbasel.com/about/initiatives/crowdfunding.  In addition to these long-term structures, Art Basel and the city of Buenos Aires will next year launch a week of public arts programing in the city. Taking place from September 11 to September 16, 2018, the week will be directed by Cecilia Alemani, Director and Chief Curator of High Line Art in New York and the curator of the Italian Pavilion at the 2017 Venice Biennale. Over the coming months, Alemani will work closely with cultural partners in Buenos Aires on the week's program.  Finally, a newly formed advisory board – consisting of prominent artworld figures with strong ties to Buenos Aires – has been created to contribute to the further development and implementation of the partnership. Members of the board comprise: Ariel Aisiks; Pablo Leo?n de la Barra; Orly Benzacar; Gustavo Bruzzone; Ximena Caminos; Eduardo Costantini; Marlise and Anibal Jozami; Dani Levinas; Alec Oxenford; Glenn Phillips; Frances Reynolds; Adriana Rosenberg and Juan and Patricia Vergez, and from the government of the City of Buenos Aires Diego Radivoy, General Director of Creative Industries.

Art & Culture 03 Aug 2017

yacht owners be careful when placing art on board

Spanish Billionaire Jaime Botín Faces Prison for Allegedly Trying to Smuggle a Picasso on His YachtThe prosecutor is also seeking a €100 million fine for the banker.Superyacht owners need to think carefully when placing art on board. It’s not just insurance and tax aspects which must be considered.In the ongoing legal case against Spanish billionaire Jaime Botín, who’s accused of smuggling a Picasso out of Spain, the prosecutor has requested a four-year prison sentence and a €100 million fine against the heir and collector, a member of Spain’s most successful banking family.Botín is the owner of an early painting by Pablo Picasso, Head of a Young Woman (1906), which was seized by French authorities in the summer of 2015 from a yacht docked in Corsica and registered to a company of which Botín is the major shareholder.The €26 million painting was declared a cultural treasure by the Spanish National Court in May 2015 and had been refused an export permit prior to the seizure.In August 2015, the seized painting was transported to the Museo Reina Sofía in Madrid, where it will remain until the investigation is completed. However, it could potentially remain in the museum much longer: In addition to the prison sentence and the hefty fine, El País reports that the prosecutor is requesting that ownership of the work be transferred to the state, invoking article 29 of the Spanish Heritage Law.According to the law, “any movable property belonging to the Spanish Historical Heritage that is exported without the authorization required… belongs to the State. It is inalienable and cannot lapse.”The article also establishes that “any property recovered and not assigned shall be allocated to a public center.” (Museo Reina Sofía is a public museum.)The prosecutor has rejected all the claims presented by Botín’s defense in the ongoing court case. The latest argument of Botín’s legal representativesis that neither the banker nor his advisors thought that sailing in the Mediterranean on European Union waters could violate the export ban or could constitute smuggling, and that the work never left its private setting. The case harks back to December 2012, when a request for permission to export the painting out of Spain was presented by Christie’s Iberica on behalf of the company Euroshipping Charter Company Ltd., linked to Jaime Botín. The initial destination was London, but José Ignacio Wert, then minister of education, culture, and sports, refused to allow the painting to leave Spain.Botín acquired Head of a Young Woman in 1977. Picasso painted the artwork when he was 24 years old. Its value lies in the fact that it is one of the very few examples of Picasso’s Gósol period, considered key in his subsequent Cubist evolution.

Art & Culture 22 Jul 2017

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Art & Culture 07 Jul 2017

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Art & Culture 04 Jul 2017

artists’ rivals are also their greatest assets

From Picasso and Matisse to Bacon and Freud, Artists’ Rivals Are Also Their Greatest Assets As he trailed Lucian Freud up the stairs of the artist’s Holland Park home, something caught art critic Sebastian Smee’s eye. There, hanging beside the studio door, was a “wanted” poster printed with an image of Freud’s Portrait of Francis Bacon (1952). The flyers had been part of an unsuccessful campaign to recover the work, which was stolen in 1988 from a Berlin museum. To this day, the portrait has never been found.Bacon and Freud had famously befriended each other in London in the 1940s. But by the 1970s their relationship had completely unraveled. (The photograph, above, from the National Portrait Gallery’s collection captures their friendship near its end.) Even a decade after Bacon’s death in 1992, it was considered taboo to broach the subject with Freud during interviews. So why, Smee wondered, did the portrait of Bacon still hang next to his studio door?“I knew that he wanted that painting back very much because of its quality,” Smee recently told Artsy. “But I also thought it must have been partly to do with the fact that the subject of the painting was this person who had played such a crucial role in his life and in his artistic career. And in that sense it felt poignant.”For Smee, the lingering questions posed by the “wanted” poster served as the jumping off point for his latest book, The Art of Rivalry. Out August 16th, it traces the complicated relationships between four pairs of modern masters—Freud and Bacon, Picasso and Matisse, Manet and Degas, and Pollock and de Kooning. Although the term “rivalry” may conjure up visions of bitter adversaries pitted against each other, Smee believes that model is outdated. “The famous rivalries you hear about, whether it’s between Delacroix and Ingres in the 19th century, or the famous Renaissance rivalries, they’re all about competing with your enemy—a kind of macho idea,” he said. “I detected something really different in these relationships between artists coming into the modern era.” Instead of out-and-out competition, Smee spends much of the book exposing the layers of uneasy friendship and intimacy that existed between the pairs—subtle moments that are often overlooked in the art historical narrative. “I just related to it; I think perhaps we all can, if there are people in our lives who we are seduced by and impressed by,” Smee said. “We're drawn to them—and if they're an artist, their way of looking at things—and that's a very intoxicating feeling. But at the same time, we are made conscious of things that may be lacking in ourselves, and again, if we’re artists, in our own artistic approach.”Freud’s relationship with the older Bacon came early in his artistic career. Although he always painted portraits, initially these were crafted in a childlike, innocent manner. The smooth surfaces and wide eyes of Freud’s early subjects were miles away from the eventual fleshy, paint-heavy portraits that would go on to define his oeuvre. It was Bacon’s risk-taking, his loose, smeared paint and fascination with the space surrounding his sitters, that inspired the younger artist. Freud later said, “I think that Francis’s way of painting freely helped me feel more daring.” Bacon’s influence led the painter—considered by critics to be an excellent draftsman—to give up drawing completely for several years, resulting in a rapid shift in style that alienated many of his supporters. In fact, art historian Kenneth Clark, one of the artist’s early admirers, never spoke to Freud again.Public rejection and disapproval often helped forge these artistic relationships. It wasn’t until the modern era that originality emerged as a factor in the way art was judged, a shift “that creates all sorts of problems,” Smee noted. “Once you value originality over so many other things, you lose hold of the criteria that used to exist to help us judge the quality of art. It affects the artists themselves in profound ways, because they’re suddenly unable to know for sure whether what they’ve just done is any good.” Matisse’s experiments with Fauvism in the early years of the 20th century are one such example. These works, so far from accepted artistic practice at the time, provoked panic attacks, insomnia, and fierce anxiety as the painter considered public reaction. “In that context, other artists become incredibly important—people whose judgment you can trust, people who you can admire for their own originality and their own artistic virtues, whatever they may be,” Smee explained.Matisse and Picasso served as each other’s sounding boards for years, with each pushing the other to new experiments and broader horizons. At first, it was Matisse who took the risks—painting with increasingly brighter colors in flatter and more saturated compositions. Picasso’s work, while original and capable, did not yet push boundaries in the same way as his fellow painter. But as the two of them spent hours together, often in the home of Leo and Gertrude Stein, Picasso started to chafe at living in the established artist’s shadow.“I think Matisse deeply destabilized Picasso in a way that ended up being unbelievably fruitful for his whole artistic career,” Smee explained. “It’s a dynamic of being drawn to him and the things he was experimenting with and his influences, and yet at the same time pushing against him and trying to find his own identity and his own voice.” Inspired in part by the African masks that fascinated Matisse, Picasso commenced work on his eventual masterpiece, Les Demoiselles d’Avignon (1907). And while Matisse initially thought of Picasso as a protégé, the older artist eventually realized that the relationship might be more fluid than he first imagined—even taking cues from Picasso’s competing artistic school of Cubism. Sometimes the rivalries between the artists had an obvious visual representation. Such was the case with Manet and Degas, whose relationship came to head when Degas painted a portrait of his fellow artist and his wife, Suzanne. Inexplicably, Manet—who was known by all as an easygoing and affable man—slashed the painting in half, slicing through his wife’s face and body. Degas later began to repair the painting with a strip of canvas but never got around to repainting the missing portion. De Kooning and Pollock’s rivalry had an even more visceral personal connection. In a move that shocked the close-knit New York art world, de Kooning began an affair with Ruth Kligman, Pollock’s lover, soon after Pollock died in a car crash.What is perhaps most intriguing, however, about Smee’s four pairings is the undercurrent of uncertainty that runs throughout. In a world where a Picasso sells for $179 million and a Pollock for $140 million, it can be easy to forget that these artists once felt insecure, even threatened, as they set out to create works that would redefine artmaking in the coming decades. “You really do feel their vulnerability in these early years,” Smee said. “And that’s something that when they’ve become haloed in this aura of greatness, you think, ‘Oh, it must have been always like that. They must have always known that they were great.’ And I just don't believe that at all.”By Abigail Cain