According to HOLO Design and true to its namesake, the Modul Drill is a 3-in-1 power tool. that lets you swap from a drill, circular grinder, and jigsaw.
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Each 2021 LG InstaView refrigerator ships with the brand’s Uvnanoa technology, while the Door-In-Door system lets you access drinks and other items conveniently.
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The Moon Mark x Lunar Race Design Challenge will finally see the winning entries racing one another remotely on the moon's surface.
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The pricing for Caviar’s exclusive Galaxy S21 Ultra already starts at $77,230 for the base storage option of 128 GB and goes up from there.
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Caviar has done it again, if you think that Apple’s newly released Airpods Max are expensive, they are retailing at S$849, this new pair will blow your mind. The Airpods Max is given a royal treatment and will be crafted with pure gold in two limited-edition models: Gold White and Gold Black. The redesign will be done by Russian custom brand, Caviar, who has since elevated many products with its golden touch. The new Airpods Max models are part of the brand’s product lineup for 2021 which also includes a PlayStation 5 made with 20kg of gold and a bejewelled pair of Nike Air Jordan sneakers.
Each model costs US$108K and with this staggering price, expect only the world’s most premium materials to be used. The only difference between these models is the colour of the leather used to make the inserts as well as the band, they are made with crocodile leather. 750 grams of 18 Carat yellow gold is used to craft the case of the headphone. Decorating the accessory are two gold bands that are inscribed with Caviar’s name.
You can pre-order this pair of uber-luxe Airpods Max headphones here. According to Caviar’s website, each model will only have one piece released so hurry if you want to own a pair.
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Nana Tedja
It is no secret; the art world is heavily dominated by men, and Nana Tedja is one of the leading female artists who has taken up the mantle of leveling the playing field in the Indonesian art scene for women artists to stand at the front line alongside their male counterparts. Bold, expressive, and unapologetically wild, Nana holds no reservation in breaking down the demarcations between herself and her art, which is to say that perusal of her art is akin to staring inwardly into her very being.
How did the early years of picking up art do for you?
I was born in 1971. My father his own batik company and my mother works as a designer there. Everyday, I would observe my mother and the many employees churn out batik works. At the age of 5, I tried my hand at batik painting and it instantly grew on me. Aged, 10, I furthered my artistic experience with my grandfather after watching him paint on a canvas. It was there and then that I figured that canvas painting was how I would like to produce art, and that has stuck with me since then.
Initially, my father was not agreeable to my choice of becoming an artist. As a woman, it was even less ideal for such a career path since the creative environment in Indonesia (or many other places) largely favoured men. Even so, I refused to cave in to the adversities of such gender stratification and eventually, I was able to achieve a great many accomplishments with my art and live a decent and respectable life today.
Your works are filled with spontaneous strokes, sketchy figures, and cut-out pieces; how would you describe your style?
My paintings are mostly ideas derived from my childhood. True to myself in every sense, I have always intended my art to be an immediate reflection of my character and personality. Granted, it may be absurd to expect most to appreciate my works to the full extent since my practice differs greatly from what I was taught about contemporary art in the Indonesia Institute of Art (ISI) Yogyakarta, but I figured that I would much sooner reconcile with that fact than to give up what I find truest to my personal happiness and contentment as an artist.
Perhaps, as what most galleries have mentioned to me before, my art style falls within the neo-expressionism style. While that may be so, I have always reiterated that my artistic direction was solely based off my personal preferences and mood. In some of my works, my subjects are presented with large teeth. Call it a self-portrait if you will, since these figures came to be because of my own teeth that many have teased me about since I was a child. “Rabbit teeth”, as how they would call them. In this vein, I am my own muse for my paintings; each stroke or colour choice is evoked through my own feelings for them. While this process is as enjoyable as it is therapeutic for me, I guess the challenge arises when I need to decide if the final line laid down completes the work to my satisfaction.
In your opinion, how is the role of an artist beneficial to society?
Our lives in society has become so astonishingly fast-paced that sometimes, we are so caught up with our daily pursuits that we forget to stop and smell the flowers. Our role as artists is to bring beauty to all who are stressed with their lives while reminding them that it is prudent to stop and take a step back in order to proceed forward. I am also thankful that I can bring my art to so many more audiences through the assistance of the media and galleries that see the value in what we do.
Also, here in Indonesia, art is good money for us, so that could possibly help us contribute to the economy whilst doing what we love most.
What are your future plans for showcasing your art?
I will be hosting my solo show at Art:1 New Museum, a commercial gallery and exhibition space specializing in contemporary Indonesian paintings and sculptures. You may wish to drop by my Instagram page (@nana_tedja) for any updates on it.
While the woman artist had to overcome a good many hurdles earlier on, Nana now stands tall as a leading figure in the Indonesian art scene. She paints to ensure that whenever someone looks up from their phone screens, they will be able to witness something mesmerising, something meaningful, something authentically Nana Tedja before their very eyes.
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When we are unsure of what’s happening to the world around us, we look towards other sources for some sort of confirmation. Be it through the daily news reporting or simply using social media to be updated of events, we are bombarded with information from everywhere and oftentimes we do not have the time or even energy to process these surging emotions that spawn out from this newfound knowledge. Art then becomes pivotal in helping us to comprehend these difficult times. In a series of artwork curated by Marina Oechsner de Coninck, 12 female artists are invited to share their experimental stories during the Circuit Breaker earlier this year. From paints to sculptures, The Call Of Sea is an initiatory exploration into the creative process of these artists as they use multidisciplinary practices to actualise these contemplative and raw art pieces.
Below is an exclusive interview with the exhibition’s curator, Marina Oechsner de Coninck on The Call Of Sea.
You will be delighted to discover more than 40 artworks from 12 female artists from Singapore and France. The concept is to foster art without borders, across continent, culture and craftsmanship, we are invited to travel through the vision of the artists. An initiatory journey inspired by female artists real feelings, memories and awareness during 2020 lockdown.
Saga Seed By Kumari Nahappan
The inspiration of this female artist group show came from our women SG ART LOVERS CLUB. Last summer during the lockdown and the restrictions to travel we started an ART LOVERS CLUB with a group of women with the desire to discover Singapore art galleries, and the artists in their studios. Discover their multi-disciplinary practices and their amazing international exposure experiences. I consider myself an engaged curator, designer and scenographer with the aim to promote art collaboration and brand activation in Asia.
What Will be Left Of Us By Helene Le Chatelier
A great honour that Kumari Nahappan, the most renowned female sculptor in South East Asia is participating in this collective exhibition. Her Saga seed series is a reservoir for latent energy. The red Saga is associated with a range of universal emotions such as Love, Passion, Remembrance and Longing. Lavender Chang is representing the new generation of Singaporean artists with international exposure and multidisciplinary practices from photography to video editing. She was awarded in 2020 Rotterdam International Festival for her cinematography work “A love Unknown”. I love her truly poetic vision of Singapore, her bus journey is transforming our vision of the city. She will be showing exclusive artworks of her series “ The Floating Rays of a Wanderer” Both artists are engaged to support social community via their works – Lavender with “Faces of Fair Price” and Kumari is supporting Children with Cancer and the Irelands Funds in Singapore.
Unveiling exclusive artworks for the exhibition, four of the artists are showing their works for the first time in Singapore: Lilia Yip, Laur Meyrieux, Charlotte de Charentenay and Linette Cajou.
Squid Cut By Lilia Yip
Eclosion By Charlotte de Charentenay
The artworks are for sale and available to book online via the e-catalogue link in bio on Instagram @marinaoechsner. All the benefits will be reinvested in future art exhibitions and private events.
For sure we are aiming to initiate more group shows and private events in 2021 in collaboration with galleries, cultural institutions and international brands based in Singapore.
We are lucky to collaborate with established partners galleries such as Intersections, Art porters and Cuturi Galleries who are supporting the artists from the start of their career, talents like Helene Le Chatelier, Lavender Chang and Delphine Rama. Many thanks for the contributions of the ladies entrepreneurs of My French Concession, HappyDesignCushions and the French associations UFE and AFS culture. The opening event on the 8th of January will be sponsored by Champagne Perrier Jouet and Pernod Ricard.
Floating Rays Of A Wanderer By Lavender Chang
Selegie Art Centre will ensure all the visitors will be welcome according to safety regulations, wearing the masks, temperature check supervision at the entrance. The exhibition will be opened from 12:00 to 19:00 from January 7 to 13 2021.
I am a fan of the National Gallery in Singapore for the iconic architecture facing Marina Bay Sands and their stunning art exhibitions. Another female artist exhibition not to miss in 2021: Georgette Chen, At home in the world.
Contact Information:
Marina Oechsner de Coninck is contactable via Instagram and marina.calinaud@gmail.com
The exhibition will be at Selegie Art Centre from January 7 to 13 2021, visit https://www.marinadesignworks.com/ for further enquires.
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The Big Bang Unico Full Baguette King Gold Rainbow is gemstone-heavy timepiece that uses Hublot’s HUB1242 chronograph flyback movement
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Daniel Arsham is back with another project with Dior and this time his signature erosion aesthetic is found on footwear. As part of the collaboration between Dior x Air Jordan 1 High, the celebrated artist took to Instagram his latest creation that was customised by Philip Leyesa (aka Philllllthy).
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Arsham has long been a frequent collaborator with some of the biggest brands in the world such as Dior, Porsche, Rimowa and Disney, to name a few. He partnered with Kim Jones when the latter took over as artistic director of Dior Homme when Kris Van Assche left. Having been an ardent fan of Arsham, Jones approached him and enlisted his help with setting up the runway for Jones’ debut collection in 2019 and pieces from that year’s collection sold like hotcakes.
Found on the most coveted footwear of this year, the Air Jordan has been masterfully eroded. Even the box that houses the shoes, dust cover as well as a note from Kim Jone have been purposely abraded to ensure the entire collection has a worn-out appearance. This is highly unusual as we would normally want items that we bought to be brand new, flawless and mint condition. However, if we were following Arsham and his creations, we would quickly dismiss that thought.
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Referencing the ancient Japanese art form of kintsugi, where the focus is on accepting imperfections and flaws. The intriguing pattern is found all over the kicks and is certainly a quirky pair of shoes to own.
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The Zoox boasts four-wheel steering, which helps it maneuver tight spaces. Testing is currently ongoing and availability might be sometime in 2022 or later.
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What makes the Casio G-SHOCK MTGB1000WLP1 unique is the stainless-steel bezel, case, and band, that shows laser-etched markings of the African Rock Python's skin.
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French couturier Pierre Cardin has passed away in a hospital in Neuilly, the west of Paris on December 29. He was 98 years old. The avant-garde designer was known for his space-age inspired dresses and geometric patterns during the 1960s then subsequently his mega licensing business empire that covered almost everything you could imagine.
Born as an Italian in 1922, Cardin moved to France with his parents at a young age as they were fleeing away from Mussolini’s fascist regime in Italy. Eventually, Cardin’s family settled in St. Etienne, a mining town at the eastern central part of France. From a young age, Cardin has been always been interested in fashion and this passion saw him set his sights on becoming a tailor. He worked for several prestigious couture houses including that of Paquin, Schiaparelli and Dior. At Dior, he headed the tailoring atelier in creating Christian Dior’s “new look” and making a name for himself.
In 1950, after leaving the couture house, Cardin decided to set up his own label, carving out his own career path in Paris. He was extremely successful, creating a multitude of pieces that were ahead of his time. His fame saw him dressing celebrities and artists such as The Beatles, who adored his high-collared suit following his already famous design, the “bubble dress” became a hit in 1954. These achievements cemented him as a designer who has a unique set of viewpoints, uncommon during that period.
Besides cementing himself as a fashion-forward designer, Cardin also had the foresight of a businessman. He is said to be the first designer to bring luxury fashion to the masses through releasing a ready-to-wear collection as opposed to tailored-made pieces that have defined fashion’s mode of operation for a long time. His first prêt-à -porter collection was launched at Printemps department store in Paris, soon after many fashion brands followed suit.
Aside from being the pioneer in launching a prêt-à -porter collection, Cardin was also the first luxury fashion brand to do licensing. His brand’s name would be stamped on various items including pens, cutlery, furniture and wigs, to name a few out of the over 800 licenses that are found in more than 120 countries. This move, however, has cheapened Cardin’s branding but he was unfazed and remarked that “my aim is to boost sales and to raise my profile among young people”. Revenues came rolling in and with that money he bought hotels and restaurants, adding even more brands under his profile.
The entire fashion industry mourns the death of such a visionary figure and many designers including Jean Paul Gautier, Maria Grazia Chiuri and Kim Jones have all paid tribute to this legendary designer.
Images courtesy of Pierre Cardin/AP/ Getty Images
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Felix Meritis Building in Amsterdam. Image by i29.
This unique building on Keizersgracht was built in 1788 for a society of scientists, artists, entrepreneurs and thinkers. Regarded a hotspot for creativity and crossovers during intellectual movements such as “The Enlightenment” —an 18th-century coalition that emphasized reason and science — the building was home to five different departments and facilitated space for music, commerce, literature, physics and drawing.
Reimagining the grand spaces of Amsterdam’s iconic Felix Meritis building, Dutch interior architecture studio i29 adds a contemporary touch to an already vibrant history, creating a colorful revamp that has since transformed the 18th-century style rooms through merging historical allure with modern design sophistication.
Commissioned by investment group Amerborgh, i29 was tasked to further the complete interior redesign of the space by end 2020. Through installations, textile wall coverings, acoustic facilities, and colorful finishes, i29 was able to successfully incorporate a distinct and charismatic design into the Felix Meritis building, which is not only inspired by rich history but contemporary and refreshed with modern interventions.
With a multitude of diverse aesthetics, each space embraces its original function, referencing how the building was divided into distinctive departments and given its own interpretation. Much like in 1788, each space forms a collection of colorful characters in the house of enlightenment.
Completely renovated in collaboration with a large team of specialists and advisers; new installations and acoustic facilities have been carefully inserted within the monumental shell. Overall, all restorations fall within the original building contour, where necessary installations are completely hidden by a new lifted roof, and existing classical environments, new interventions and finishes by i29 in the interior are clearly recognizable as such, bringing the building into the present whilst maintaining its charming authenticity.
Showcasing modern interpretations of style rooms from the 18th century in the form of a restaurant and reception, i29 has successfully maintained all original colours and wall coverings, thanks to its close collaboration with Buro Belen design studio. As an image of a typical Dutch sky lies on full display, as a tactile wall covering in the restaurant, the reception area features an old etching from the original Teekenzaal on the textile walls.
Complemented by a light installation connecting the two rooms to create a grand entrance as a modern “chandelier” from the ceiling, the new and improved Felix Meritis boasts an abundance of fluorescent light through an array of LED signing placed throughout the building. Characterized by the building’s most notable and almost invisible Zuilenzaal, i29 has completely prepared this theatre for the future with the integration of all necessary technology, lighting and installations, without compromising the overwhelmingly significant history.
Famous for acoustic concerts, the Zuilenzaal is finished in original color schemes which has regained its classical appearance. Showcasing large steel chandeliers, acoustic wall cabinets, and flexible wall units for sound absorption and reflection, the Zuilenzaal now welcomes both live acoustic and electronic music performances with enhanced technical, light and sound facilities.
In line with the original philosophy of the Felix Meritis society, the new interior is progressive but made with respect for its history. Representing a new chapter of the cultural house for the curious mind, the new and improved Felix Meritis meets all requirements in terms of appearance, whilst matching the monumental environment of the original building, and marking it as a vibrant culture house for both the young and the old.
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