Latest news with #NOT
The Irish Sun
4 days ago
- The Irish Sun
Suicide pod activist Dr Florian Willet takes own life after arrest over ‘murder' of woman who used euthanasia device
A SUICIDE pod activist has taken his own life after being interrogated over the murder of a woman who died in one of the euthanasia devices. Florian Willet, 47, suffered a mental health crisis after he was arrested by Swiss Police last year, according to Philip Nitschke, the inventor of the Sarco suicide capsule. 2 The Sarco assisted suicide capsule Credit: AFP 2 Florian Willet has taken his own life at 47 Credit: AFP Willet, from Germany, was the director of Last Resort, the Swiss suicide organisation which operated the Sarco pods. He was also a prominent right-to-die activist. The director was investigated for aiding and abetting suicide. As part of the probe, prosecutors investigated whether he strangled the woman, but that was ruled out. Willet was released in December after being held in pre-trial detention for 70 days. Nitschke, who also directs pro-assisted dying group Exit International, said: 'Gone was his warm smile and self-confidence. In its place was a man who seemed deeply traumatised by the experience of incarceration and the wrongful accusation of strangulation." He revealed that his colleague Willet sought help and went into hospital twice before his death on May 5. Willet reportedly died in Germany with the help of a specialist organisation, though it is not known exactly how he died. Most read in The US Sun Nitschke continued: 'To describe Florian is to talk of a man who was thoughtful, caring, funny, and friendly. He was an easy person to be around. 'But most of all, Florian was kind. Florian was also passionate about a person's right to choose when to die.' More to follow... For the latest news on this story, keep checking back at The U.S. Sun, your go-to destination for the best celebrity news, sports news, real-life stories, jaw-dropping pictures, and must-see videos . Like us on Facebook at YOU'RE NOT ALONE EVERY 90 minutes in the UK a life is lost to suicide. It doesn't discriminate, touching the lives of people in every corner of society - from the homeless and unemployed to builders and doctors, reality stars and footballers. It's the biggest killer of people under the age of 35, more deadly than cancer and car crashes. And men are three times more likely to take their own life than women. Yet it's rarely spoken of, a taboo that threatens to continue its deadly rampage unless we all stop and take notice, now. That is why The Sun launched the You're Not Alone campaign. The aim is that by sharing practical advice, raising awareness and breaking down the barriers people face when talking about their mental health, we can all do our bit to help save lives. Let's all vow to ask for help when we need it, and listen out for others... You're Not Alone. If you, or anyone you know, needs help dealing with mental health problems, the following organisations provide support: CALM, Heads Together, Mind, Papyrus, Samaritans,
The Irish Sun
26-05-2025
- Entertainment
- The Irish Sun
Newcastle star Callum Wilson bravely opens up on moment he considered taking his own life as a child
CALLUM WILSON revealed he contemplated suicide aged 12 and how seeking therapy a year ago saved him from the demons. The father-of-two forward, 3 Callum Wilson revealed he contemplated suicide aged 12 3 Wilson has represented England at senior level Credit: Getty 3 His Newcastle contract expires at the end of the season Credit: Getty England international Wilson, 33, bared all about growing up in Coventry as one of six children with a single mum and with a different dad to his siblings. The Leeds transfer target spent time in He told the High Performance podcast: 'I cried myself to sleep at night. I got to about 12, 13 - it was like suicidal moments. "When I say I cried myself to sleep, I was just praying to God like 'take me out of this environment, I want to become a footballer'.' read more in football He admitted: 'I've walked alongside the train track and was building up the courage to jump basically in front of the train. "I've tied cables around my bedroom rail and my PlayStation remote controller to see if it was strong enough to hold my weight. 'Football really was my saviour, it was my escape.' Wilson, though, refuses to blame his mother for any of his unstable upbringing, saying: 'It was my mum on her own, all my siblings in the house. Most read in Football "We had a three bedroom council house. Food was sparing to come by. That, along with a bit of turmoil. 'I probably have a lot of aggression from that point, but football was a place that I could be aggressive in my position on the pitch and it would be ok. So it was like a release really.' Champions League places CONFIRMED after Aston Villa VAR controversy as Newcastle have to be saved by Man Utd Despite all of the success in his career on the pitch, Though he hailed a He added: 'Once I started speaking, and revealed everything I've been through in life, she was like 'Wow, how have you got to this point already without not seeing a therapist?' 'I speak to my wife about it, but I didn't want to blur the lines with our relationship. "She's not my therapist, she's my wife and the mother of my children, so I didn't want to burden her with problems. "You can speak to a therapist and it does feel a sense of relief afterwards. 'It's an investment in yourself and more than worth it. I'm probably learning a lot about myself now - little traits that I have that were obviously triggered by things as a kid. I'm really happy.' YOU'RE NOT ALONE EVERY 90 minutes in the UK a life is lost to suicide. It doesn't discriminate, touching the lives of people in every corner of society - from the homeless and unemployed to builders and doctors, reality stars and footballers. It's the biggest killer of people under the age of 35, more deadly than cancer and car crashes. And men are three times more likely to take their own life than women. Yet it's rarely spoken of, a taboo that threatens to continue its deadly rampage unless we all stop and take notice, now. That is why The Sun launched the You're Not Alone campaign. The aim is that by sharing practical advice, raising awareness and breaking down the barriers people face when talking about their mental health, we can all do our bit to help save lives. Let's all vow to ask for help when we need it, and listen out for others... If you, or anyone you know, needs help dealing with mental health problems, the following organizations provide support: CALM, Heads Together, Mind, Papyrus, Samaritans, Movember, Meanwhile, Wilson appeared to wave goodbye to Newcastle with a tearful solo lap of honour round the St. James' pitch on Sunday after the Magpies had secured Champions League qualification. Although Magpies boss Eddie Howe refused to rule out a potential stay. Howe said: 'Let's wait and see. We're going to sit down and talk with his representatives. 'What I can say is Callum Wilson is and has been just an incredible footballer for Newcastle. "Someone who epitomises the spirit that's got us to where we are really professional. Brave. 'To come here and be the No.9 in the manner and the moment that he did in the club's history. "It was a difficult moment and the club needed hope and Callum gave them hope, led the line with that responsibility and the pressure that role brings unbelievably. 'He brings a positivity to the group. He's a leader within the change room. He's just been incredible and let's wait and see what happens.' If you are affected by any of the issues raised in this article, please call the Samaritans for free on 116123.
New York Times
24-04-2025
- Entertainment
- New York Times
In the Heart of Washington, Adam Pendleton's Work Demands Deep Thought
When Adam Pendleton begins preparing for an exhibition, his first step is always the same: build a model of the space. Pendleton, who lives and works in New York, has employed this process for years, as he has prepared for shows in New York, London and Los Angeles. He finds that it allows him to visualize and refine his approach before and during installation. His first solo exhibition in Washington, D.C., 'Adam Pendleton: Love, Queen,' at the Hirshhorn Museum and Sculpture Garden was no exception. It opened April 4 and runs through Jan. 3, 2027. Pendleton, 41, had a very clear vision for the show from the start. He noted that, to him, the unique thing about art was its ability to function both within a particular moment and outside of it, offering a timeless reflection. 'What I want this work to do is to actually make people more conscious of how they spend their time and what they're doing with it,' Pendleton said in an interview at the museum in March, as preparations for the show were underway. 'And so I hope the exhibition is an opportunity to slow down and actually just, if only for a moment, exists outside of the dynamics or the pressures of any given moment.' Evelyn C. Hankins, the Hirshhorn's head curator, and the organizer of 'Love, Queen,' explained that the show — a major retrospective — was years in the making. She recalled that she and Pendleton started talking about the show in early 2022. Since then, she said that she visited his studio in New York every few months. 'Every time I'd go to the studio, there were these little scaled images of the paintings moving around,' Hankins explained in an interview at the museum. 'I think he spent so much time looking at the model, thinking about the building and what he wanted to do in here.' The show comes at a big moment for the institution, during its 50th anniversary year (it was founded in 1974). Aptly, 'Love, Queen' speaks very directly to the Hirshhorn, taking inspiration from both the museum's architecture and its location, right on the National Mall. 'For us, this project is very much part of our mission, which is about reflecting the art of our time, and Adam does that in his painting practice especially,' the Hirshhorn's director, Melissa Chiu, said in an interview. Pendleton explained that 'the exhibition is a kind of a retrospective of the way in which I thought and moved through the discipline of painting for about 20 years.' He said the show presented an argument about what painting can be — exploring its possibilities within the context of the 21st century, while also reflecting on its history and role in the early 20th century. 'Love, Queen' features 35 of Pendleton's paintings, displayed in the museum's second-floor inner-ring galleries. The paintings represent five different bodies of work: Some of the canvases are from three of Pendleton's ongoing series — 'Black Dada,' 'Days' and 'WE ARE NOT' — while others are from two new series, 'Composition' and 'Movement.' Through 'Black Dada' — the name of Pendleton's evolving conceptual framework, as well as the title of one series of paintings — Pendleton explores the relationship between Blackness and abstraction. His process begins on paper, where he builds compositions through paint, ink and watercolor, often incorporating stenciled text and geometric shapes. These works are then photographed and transformed through screen printing, blurring the lines between painting, drawing and photography. The final works reflect his belief in paintings as a powerful force. 'I think that's unique, because particularly in contemporary life, or just in general, we're always thinking, thoughts, thoughts, thoughts. But are we present?' Pendleton said while walking through the circular space on the second floor of the Hirshhorn where his works were being hung. 'Painting is, for me, a way to be my most present self. I hope that aspect of the act of painting, the act of making, of doing, is not necessarily understood by the viewer, but felt.' A centerpiece of the exhibition is 'Resurrection City Revisited (Who Owns Geometry Anyway?),' a nine-minute video installation exploring Resurrection City — an encampment erected on the National Mall in the spring and summer of 1968 as part of the Poor People's Campaign. Planned by the Rev. Dr. Martin Luther King Jr. and carried forward by the Rev. Ralph Abernathy after King's assassination, the campaign brought together thousands of people in a call for economic justice across racial lines. Pendleton became interested in Resurrection City after encountering photographs by Jill Freedman who, after King's assassination, took up residence in a plywood shantytown erected in Washington by the Poor People's Campaign, documenting the encampment's structures and daily life. Pendleton said that, 'in those photos, there's these lush blacks, these muted whites, but also there were the primary structures that existed within the context of the encampment.' He added, 'I became interested in them because I'm obsessed with triangles, circles, squares.' Pendleton studied Freedman's photographs for about four years before deciding to engage with them artistically. 'I've been mining Resurrection City as an example of a radical avant-garde,' Pendleton said of the encampment on the Mall. 'If I had to define the avant-garde, it's this drive to move forward — intelligently, willfully, joyfully. And that's really what Resurrection City is.' The video's score, composed by the multi-instrumentalist Hahn Rowe, weaves together a reading by the poet and playwright Amiri Baraka with rich orchestration of brass, woodwinds and drums. Pendleton is not just revisiting a historical moment, he is navigating a visual space where art stands on its own. 'It's a feeling you can't find anywhere else,' he said. 'This idea of deep looking and letting something resonate in an unexpected way.' This concept extends into his video installation. Like each of his paintings, the video is designed to offer a rich viewing experience, in which the visitor discovers something new each time they revisit it. 'It drives you to look and think deeply, so that things are actually seen, felt and heard,' Pendleton explained. 'And I think that's what really resonates — how the video functions in relation to the paintings.' Throughout 'Love, Queen,' Pendleton extends his exploration of the relationship between history and form. His large-scale paintings — layered with bold strokes and fragmented text — defy singular interpretation, instead prompting viewers to actively construct meaning. 'I think that's one of the really beautiful things about painting,' Pendleton reflected. 'It marks time in a very human and humanistic way. And that's why it has spoken so deeply to us as human beings for so long, because it articulates something very specific about our humanistic potential.'
