Tag Archives: object

Press Gallery 150th anniversary: ​​New Zealand prime minister poses for rare photos | Instant News

Former Prime Ministers of Sir Bill English, Sir John Key, Sir Geoffrey Palmer, Helen Clark and Jim Bolger pose with current Prime Minister Jacinda Ardern. Photo / Provided

It was a “rare thing” on Friday night as all New Zealand prime ministers then and now, except one, gathered in a common room.

Attending the 150th anniversary of the Parliamentary Press Gallery were Prime Minister Jacinda Ardern, along with former prime ministers Sir John Key, Sir Bill English, Sir Geoffrey Palmer, Helen Clark and Jim Bolger.

The only former prime minister missing – still alive – is Dame Jenny Shipley.

Ardern and Key both gave speeches at the event held at Te Papa in Wellington, reflecting on their relationship with the media, and sharing some interesting anecdotes.

After the speech, the six prime ministers gathered to take pictures to capture this rare moment.

“It’s very rare to have all the past prime ministers in a room (with the exception of just one) but that happened last night on the 150th Anniversary of the Parliamentary Press Gallery,” Ardern said in a social media post.

“Someone thought it was worthy to be photographed – and for sure some would find it worthy of text.”

Palmer, 79, was the first of the group to serve as prime minister – New Zealand’s 33rd – from August 1989 to September 1990, presiding over the Fourth Labor Government.

Bolger, 85, of the National Party was the country’s 35th prime minister, serving from 1990 to 1997.

Clark, 71, served as the 37th prime minister from 1999 to 2008, leading the Labor Party.

Key, 59, was the country’s 38 prime minister, serving from 2008 to 2016 with National.

English, 59, took over for Key in 2016, serving as the country’s 39th prime minister until the 2017 elections, when Ardern, 40, became the country’s 40th prime minister.

The Press Gallery was 150 years old, but celebrations were postponed due to Covid-19.


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Top 6 Experimental Creations By Italian Designer, Andrea Mancuso, That Turn Daily Experiences Into Miracles | Instant News

Dazzling the world with his fantastic and whimsical creations, Italian designer based in Milan, Andrea Mancuso, draw inspiration from everyday life. I looked at six of his main works that combine traditional craftsmanship with contemporary digital technology.

Analogia Wool Installation

Questioning the relationship between object and space by turning the room into a three-dimensional sketchbook, Mancuso animates the drawing using 3D software and suspends merino wool – treated to different thicknesses and lengths that resemble charcoal strokes – on a fishing net. extends from floor to ceiling and from wall to wall.

Story Wall Tiles

The white ceramic tiles accurately reproduce archaeological fragments and ruins dating from the Italian museum, created using virtual digital artifact models, thereby exploring historical existence in our daily lives.

Booming Vase

Produced in collaboration with Italian ceramist Alessio Sarri, they examine two essential elements that make up our existence: air and matter. Pure geometric shapes in ceramics explode fresh, improving the explosive moment in the material, following experiments that test new cause-and-effect relationships.

Rhyton ship

Taking its name from an ancient drinking horn, made of pottery or metal, has a base which is usually the shape of an animal’s head, these five glass Murano glasses disguise themselves as snails, chicken legs, dolphin tails, porcupines. body and a ram with long horns is the study of the ritual world of antique drinking vessels.

Goldfish Table

Playing with a variety of marble hues and ancient inlay techniques, Mancuso transforms the table top into a pond traversed by slow-moving goldfish, matched by a pedestal consisting of overlapping brass plates that echo their movements.

Metamorphosis Collection for Perrier-Jouët

Exploring natural metamorphosis, Perrier-JouëtArt Nouveau legacy and the way the house transforms Chardonnay wines into elegant floral champagne through knowledge learned over the last two centuries since its founding in 1811 by Pierre-Nicolas Perrier and Rose-Adélaïde Jouët, Mancuso designed the Metamorphosis collection of six champagne glasses and a handcrafted champagne bowl the same as the basic ingredients of Murano Berengo Studio using complex lost wax casting techniques. Each took a week to handcraft, six glasses of intricate vegetal design in muted colors reflecting the taste profiles and personalities of six different Perrier-Jouët cuvées, following Mancuso’s lengthy talks and tasting with former Home Warehouse Master, Hervé Deschamps, at Épernay. While the champagne glass top bowl remains, the stems adopt a tangible shape as if flooded with plant life, prompting users to embark on a new artistic champagne drinking ritual. There is a glass base in the shape of a curved plant stem with two green leaves, climbing roots and ribbon-like rose pink petals, and upward rising bubbles or stems that are entwined in yellow. Mancuso commented, “My meeting with Maison Perrier-Jouët was an ongoing conversation, a beautiful and inspiring dialogue about wine, of course, but also a shared vision to re-enchant the world with re-created nature.”


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Exploring the latent aggression that exists in people and objects | Instant News

The Canvas Gallery in Karachi hosts an art exhibition showcasing Suleman Faisal’s works until April 16. ‘Orange Sisyphus’ is the solo performance of the Vasl-Khurram Kasim Art Foundation (KKAF) Research Grants.

“There are certain types of instinctive affiliation with regard to tools and how we use them; each tool has a specific function that changes the way it is used, ”the exhibition catalog released by the gallery quoted the artist as saying.

“As an artist and former laborer, I have experience ranging from working on assembly lines making mass-produced products to assisting in visual merchandising for popular conglomerates. My experience has shifted from being an individual worker working on a commission to an artist reaching out within myself to the depths of creative expression.

“This shift is a catalyst in the evolution of my worldview, one that changes drastically as I reflect on different perspectives on what tools mean and how these meanings change from person to person, and what they say about the individual himself.

“As artists, most of us are kind of workers, but our experience tends to be one of love work and not marriage for convenience. “When we look at the experience of a child working in a factory or mine, it is very different from the kind of work that is born of passion and dedication.

“It’s an idea I have tried to tease through my practice, recently and in my learning experiences over the last few years. “When I have exposed different aspects of this experience, I have realized that there is an inherent fallacy in the way these tools are understood by different classes of society.

“Someone in my position has the luxury and ability to use it at my discretion, and maybe even celebrate this drama. The object created for this storefront is one piece, a tribute to the tools that have made me what I am. “In this case, these items also really tell the experience of workers who make a living through them. One of them is compulsion and the other is a form of catharsis. The inherently transparent material has been cheerfully printed into different objects all created to commemorate these different perspectives.

“The orange hue radiates a sense of warmth and happiness in the mind of the viewer, which, in addition to ribbons and wrapping paper, helps form a strong association with the act of gift-giving, behind which is a much more sinister context that introduces a darker side of labor practices.

“I can’t help but highlight how these tools mean so different to someone trained to use them in reward and remuneration, and I am amazed by their aesthetic potential.

“Whether you see the playful nature of these objects that arouses the viewer ‘s imagination in some, or the fallacy in how they are constructed and presented as a means of mobility and hard work, there is much to say about how their connotations shift.

“The display of these objects as interactive and fun aims to dissect the level of representation that each of these objects gives us all. Like Sisyphus who works hard over and over again, through my work I invite viewers on a journey towards a capitalist attitude of constant productivity. “

Faisal is an artist based in Lahore whose work includes sculpture, video and performance. Her multidisciplinary artwork explores the latent aggression that occurs within people and objects, and the petty violence perpetrated through socially acceptable activities such as cooking, hosting, or manufacturing.

His interest in power and equipment balance is influenced by his personal history of working in the toy and plastics manufacturing industry, as well as exploring the various socioeconomic conditions in the city where he lives.

He graduated in 2017 with outstanding honors in fine arts from Lahore’s National College of Arts (NCA), Pakistan’s leading arts university, where he currently teaches. She has taken part in the artist residency at the Vasl Artists’ Association in Karachi (2020) and the Pioneer Cement Residency curated by the Canvas Gallery (2017).

He has also exhibited his work in group exhibitions, including ‘For the Wicked and the Valiant’ at Lahore’s O Art Space (2021), ‘A Site for the Sight’ at the Lahore Biennale (2020), ‘Microcosm II’ at Karachi’s Aan Gandhara Art Space (2018), ‘Transition in Time’ at NCA’s Zahoor ul Akhlaq Gallery (2018), ‘Four Rooms’ at the Lahore Biennale at the Punjab Institute of Language, Art & Culture (2018), and ‘Beneath the Surface’ on the Canvas Gallery (2017) ).

He has been tasked with producing public works and monumental projects for Coca-Cola, Fazaia Housing Scheme and Wapda Town in Sargodha, Bahria Town Karachi, Lahore Shadman Junction and Alkaram Studio. In 2020 he received the Vasl-KKAF Research Grants Fund, the peak of which was exhibited in the Canvas Gallery.

Faisal is the third recipient of the 2020-2021 Vasl-KKAF Research Grant, selected from his 12th residency at Taaza Tareen Vasl ‘Echoes of the Walls’. The panel of judges for the selection of grantees consisted of Naiza Khan, Rabeya Jalil, Risham Syed and Sameera Raja.

Taaza Tareen is the flagship artist residency program of the Vasl Artists Association. Four new artists and an art writer were selected from more than 80 applicants from all over Pakistan. Founded in 2005, Taaza Tareen is designed as a stepping stone for recent graduates from Pakistan’s arts institute to build their careers.

Over the years Taaza Tareen has supported more than 75 artists at the formative stages of their professional life. Every year one outstanding resident of Taaza Tareen is awarded a Vasl-KKAF Research Grant, which is selected by a panel of experienced arts professionals.

The Vasl-KKAF Research Grants are awarded to new artists who are not only diligent in their respective work but also committed to their practice by showing a strong dedication and interest in building close relationships within the arts community.

Recipients receive the opportunity to build relationships with a wide variety of creative practitioners and the Vasl network, in addition to solo exhibitions at the prestigious Canvas Gallery.

KKAF was founded to provide a platform that supports all modes of artistic expression from and within Pakistan. From 2018 to 2024, KKAF commits to sponsor a year-long research grant for eligible Taaza Tareen artists. Since 2018 the Canvas Gallery has hosted the culmination exhibition of the Vasl-KKAF Research Grant.


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Covid 19 coronavirus: ‘Take level 3 with you’ – a warning to Auckland residents leaving the city | Instant News

A top microbiologist lashed out at any Auckland residents who thought of fleeing the locked city to bach, saying it was “as a thing to do”.

Siouxsie Wiles said if they really had a genuine reason to leave the city, they needed to take level 3 precautions with them and act as if they could infect them.

Experts have sounded a warning to anyone who has left or plans to leave the city since last night’s Government announcement.

In this morning’s tweet, which has been retweeted hundreds of times, the expert has told Auckland residents to act as if they are on alert level 3, wherever they go next, as they may already be incubating the virus.

“Hey, all of you Auckland citizens leaving the city at night to spend the week in your bach … You better take level 3 with you,” he wrote on Twitter.

“You do realize that this is the thing to do? If you are incubating the virus you run the risk of spreading it outside of Auckland.”

According to microbiologists, people must comply with the level 3 rule if they have left Auckland, regardless of whether they show symptoms of Covid-19 or not.

“I know you all feel fine and don’t think you have the virus, but that’s how everyone incubating Covid-19 starts,” he warned.

“You can start a chain of transmission and potentially in places with much less health care capacity than Auckland.”

Speaking to the Herald, Wiles said the advice to take a level of caution applies to Auckland residents who have fled to their out-of-town bach as well as anyone who has visited Auckland and is now leaving the city to return home.

“There must be people with a valid reason to leave,” he said, referring to visitors who needed to return home elsewhere in the country.

A barrier of view like this has been created at the Auckland regional border.  Photo / Hayden Woodward
A barrier of view like this has been created at the Auckland regional border. Photo / Hayden Woodward

“But since they have been in Auckland for the past week, it is advisable for them to behave as if they are at level 3.”

Dr Siouxsie Wiles, an infectious disease specialist from the University of Auckland.  Photos / Files
Dr Siouxsie Wiles, an infectious disease specialist from the University of Auckland. Photos / Files

“There are also anecdotal reports of people leaving Auckland who shouldn’t have left, perhaps because they would have preferred to spend the week in a more comfortable place. Those people shouldn’t have done that, for starters, regardless of whether they left now or go after it. Announcement [last night], “he added.

“People shouldn’t go to their bach. It’s not in the spirit to move to the alert level.”

“These people need to be aware that they might be contagious” and, therefore, the expert warned that they should behave as if they were on alert level 3, wherever they are.

It is also important for people leaving Auckland to remember that they may be in an area with lower health care capacity than Auckland.

Wiles said the Government’s decision to move the alert level was “the absolutely right thing to do” given the new case and explained that the time difference between the press conference at 9 p.m. on Saturday and the alert level starting at 6 a.m. on Sunday. only then the legal process can be enforced.

“That doesn’t mean people have a few hours to do what they want,” he added.

Auckland is now on level 3 alert, for a minimum period of seven days. The rest of New Zealand is on alert level 2.


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Club Room: Dylan Cleaver – The next big thing in New Zealand cricket | Instant News

Finn Allen of Wellington Firebirds. Photos / Photosport


Club room
Club room

Winners and Losers
Winners and Losers


Find Allen

Never having missed an opportunity to make a point, Jimmy Neesham was at his best when asked on New Zealand’s favorite cricket specialty podcast, The


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