Latest news with #OutOfHome
Entrepreneur
17 hours ago
- Business
- Entrepreneur
Multiply Media Expands into UK Through Wildstone Partnership
Opinions expressed by Entrepreneur contributors are their own. You're reading Entrepreneur United Kingdom, an international franchise of Entrepreneur Media. Multiply Media Group (MMG), a media powerhouse focused on strategic growth and meaningful brand engagement, has secured a long-term partnership with Wildstone, one of the world's largest owners of outdoor media infrastructure with a portfolio of over 5,400 panels, gaining exclusive rights to operate a major portfolio of outdoor media assets. The strategic alliance marks a major step in MMG's global growth, as it launches operations in the UK market. A newly formed media entity uniting three of the UAE's leading Out-of-Home (OOH) companies, MMG officially launched with ambitions for rapid international expansion. The group - formed in June 2025 through the consolidation of BackLite Media, Viola Media, and Media 247 - is headquartered in the UAE and backed by Multiply Group, an Abu Dhabi-based investment holding company with a market capitalisation exceeding $7.2bn. The deal grants MMG exclusive rights to operate a portfolio of premium digital Out-of-Home (DOOH) sites across central London - a move that marks a key step in its strategy to build a global, tech-enabled media platform. The assets will be commercialised and managed by BackLite Media, MMG's media operating subsidiary. Speaking on the announcement, Jawad Hassan, Head of Media and Communications Vertical at Multiply Group, said: "Expanding into the UK marks a pivotal step in MMG's global growth journey. Our partnership with Wildstone is a key enabler of that ambition, providing us with immediate scale. Positioned as a strategic launchpad into international media markets, London offers the ideal setting for us to deliver meaningful brand experiences across one of the world's most iconic urban landscapes." The first operational asset taken over is the Wandsworth Roundabout, which was among 13 high-traffic sites acquired by Wildstone from Transport for London (TfL) earlier this year. The site features four large-format digital screens and is situated on one of London's busiest junctions, with bi-weekly impacts of 6.2m. With exclusive rights to operate digital OOH sites in central London, MMG is using the UK capital as a strategic launchpad into Europe. The group has indicated that further international market entries are on the horizon, with plans underway to expand into other key global cities. The company will continue to invest in high-potential media assets, leverage technology to accelerate growth, and create value-driven synergies across its global portfolio. James Bicknell, Group CEO of Multiply Media Group, said: "At MMG, our mission is to shape a future-ready media group rooted in regional strength and global ambition. Partnering with Wildstone deepens our presence in a mature, high-impact market and extends Backlite's premium inventory beyond the UAE. Through MMG, we are embracing the evolving media landscape that powers dynamic and impactful campaigns - and this collaboration marks an important step in delivering on that promise at a global scale." Damian Cox, Global CEO and Founding Partner of Wildstone, said: "We are excited to partner with MMG as they bring their forward-thinking approach to London's DOOH market. This collaboration reflects our vision to elevate the standards of urban media infrastructure and help deliver more impactful DOOH campaigns for advertisers across London."
The Advertiser
08-06-2025
- Entertainment
- The Advertiser
Of mice and Macca's: art's new meaning in old materials
A McDonald's sign blown away by wild winds and gnawed on by rodents during an epic mouse plague may seem like rubbish to most. But to emerging rural artist Clementine Belle McIntosh, the clapped-out McCafe tarpaulin banner is a vivid symbol of the tensions between consumerism and the environment. McIntosh used the advertisement in a piece called Out Of Home, adding layers of papier mache made from old copies of the Gilgandra Weekly newspaper and colour from avocado and onion skins. The four-metre tall work is the centre of her first major exhibition, Sowing and Sewing, at the Western Plains Cultural Centre in Dubbo, western NSW, until September. "I thought it was very poignant about the concepts of global and local exchange," McIntosh told AAP of the McDonald's sign. The 25-year-old's neighbour, a farmer named Doug, gave her the tarp years after he found it blown down by the roadside and used it to cover his grain store during the 2020 mouse plague. McIntosh, who returned home to the village of Gilgandra after studying fine arts, uses these kinds of discarded, found and second-hand objects to explore interactions between production, consumption and the environment. Originally a landscape painter, McIntosh changed mediums when she watched the 2019 drought brutalise the countryside. "It just got to the point where there was no vegetation, everything was dead and the colour of the landscape had disappeared," McIntosh recalled. "I remember looking down at my watercolour palette with all these bright colours and not knowing how (they) were made or how their production possibly had a negative impact on the environment that I love and care for. "It pushed me to, instead of making art about a place, start making art with a place." Her practice involves collaborations with the elements by covering the materials in dirt, leaving them in the wind or submerging them in water. McIntosh also uses food waste and organic material to create natural dyes. "It's a direct example of the environment having the last say - it's influencing everything all the time. "Art is not immune to climate change and it will erode as well if we don't look after the environment." Sowing and Sewing also examines traditional gender roles in rural Australia, using a mixture of domestic materials like fabrics and thread and agricultural items like wire and tarps. One of the works features bullet holes, which McIntosh has mended with delicate thread. "I'm superimposing the male-oriented, imposing impact on the landscape with softer female-oriented notions of care and mending," she said. "But I'm careful not to be too critical of the male-oriented impacts because there needs to be a balance. "It's about trying to figure out that balance." The exhibition is part of the HomeGround program, which supports emerging regional artists to expand their skills and work with staff in an established gallery. A McDonald's sign blown away by wild winds and gnawed on by rodents during an epic mouse plague may seem like rubbish to most. But to emerging rural artist Clementine Belle McIntosh, the clapped-out McCafe tarpaulin banner is a vivid symbol of the tensions between consumerism and the environment. McIntosh used the advertisement in a piece called Out Of Home, adding layers of papier mache made from old copies of the Gilgandra Weekly newspaper and colour from avocado and onion skins. The four-metre tall work is the centre of her first major exhibition, Sowing and Sewing, at the Western Plains Cultural Centre in Dubbo, western NSW, until September. "I thought it was very poignant about the concepts of global and local exchange," McIntosh told AAP of the McDonald's sign. The 25-year-old's neighbour, a farmer named Doug, gave her the tarp years after he found it blown down by the roadside and used it to cover his grain store during the 2020 mouse plague. McIntosh, who returned home to the village of Gilgandra after studying fine arts, uses these kinds of discarded, found and second-hand objects to explore interactions between production, consumption and the environment. Originally a landscape painter, McIntosh changed mediums when she watched the 2019 drought brutalise the countryside. "It just got to the point where there was no vegetation, everything was dead and the colour of the landscape had disappeared," McIntosh recalled. "I remember looking down at my watercolour palette with all these bright colours and not knowing how (they) were made or how their production possibly had a negative impact on the environment that I love and care for. "It pushed me to, instead of making art about a place, start making art with a place." Her practice involves collaborations with the elements by covering the materials in dirt, leaving them in the wind or submerging them in water. McIntosh also uses food waste and organic material to create natural dyes. "It's a direct example of the environment having the last say - it's influencing everything all the time. "Art is not immune to climate change and it will erode as well if we don't look after the environment." Sowing and Sewing also examines traditional gender roles in rural Australia, using a mixture of domestic materials like fabrics and thread and agricultural items like wire and tarps. One of the works features bullet holes, which McIntosh has mended with delicate thread. "I'm superimposing the male-oriented, imposing impact on the landscape with softer female-oriented notions of care and mending," she said. "But I'm careful not to be too critical of the male-oriented impacts because there needs to be a balance. "It's about trying to figure out that balance." The exhibition is part of the HomeGround program, which supports emerging regional artists to expand their skills and work with staff in an established gallery. A McDonald's sign blown away by wild winds and gnawed on by rodents during an epic mouse plague may seem like rubbish to most. But to emerging rural artist Clementine Belle McIntosh, the clapped-out McCafe tarpaulin banner is a vivid symbol of the tensions between consumerism and the environment. McIntosh used the advertisement in a piece called Out Of Home, adding layers of papier mache made from old copies of the Gilgandra Weekly newspaper and colour from avocado and onion skins. The four-metre tall work is the centre of her first major exhibition, Sowing and Sewing, at the Western Plains Cultural Centre in Dubbo, western NSW, until September. "I thought it was very poignant about the concepts of global and local exchange," McIntosh told AAP of the McDonald's sign. The 25-year-old's neighbour, a farmer named Doug, gave her the tarp years after he found it blown down by the roadside and used it to cover his grain store during the 2020 mouse plague. McIntosh, who returned home to the village of Gilgandra after studying fine arts, uses these kinds of discarded, found and second-hand objects to explore interactions between production, consumption and the environment. Originally a landscape painter, McIntosh changed mediums when she watched the 2019 drought brutalise the countryside. "It just got to the point where there was no vegetation, everything was dead and the colour of the landscape had disappeared," McIntosh recalled. "I remember looking down at my watercolour palette with all these bright colours and not knowing how (they) were made or how their production possibly had a negative impact on the environment that I love and care for. "It pushed me to, instead of making art about a place, start making art with a place." Her practice involves collaborations with the elements by covering the materials in dirt, leaving them in the wind or submerging them in water. McIntosh also uses food waste and organic material to create natural dyes. "It's a direct example of the environment having the last say - it's influencing everything all the time. "Art is not immune to climate change and it will erode as well if we don't look after the environment." Sowing and Sewing also examines traditional gender roles in rural Australia, using a mixture of domestic materials like fabrics and thread and agricultural items like wire and tarps. One of the works features bullet holes, which McIntosh has mended with delicate thread. "I'm superimposing the male-oriented, imposing impact on the landscape with softer female-oriented notions of care and mending," she said. "But I'm careful not to be too critical of the male-oriented impacts because there needs to be a balance. "It's about trying to figure out that balance." The exhibition is part of the HomeGround program, which supports emerging regional artists to expand their skills and work with staff in an established gallery. A McDonald's sign blown away by wild winds and gnawed on by rodents during an epic mouse plague may seem like rubbish to most. But to emerging rural artist Clementine Belle McIntosh, the clapped-out McCafe tarpaulin banner is a vivid symbol of the tensions between consumerism and the environment. McIntosh used the advertisement in a piece called Out Of Home, adding layers of papier mache made from old copies of the Gilgandra Weekly newspaper and colour from avocado and onion skins. The four-metre tall work is the centre of her first major exhibition, Sowing and Sewing, at the Western Plains Cultural Centre in Dubbo, western NSW, until September. "I thought it was very poignant about the concepts of global and local exchange," McIntosh told AAP of the McDonald's sign. The 25-year-old's neighbour, a farmer named Doug, gave her the tarp years after he found it blown down by the roadside and used it to cover his grain store during the 2020 mouse plague. McIntosh, who returned home to the village of Gilgandra after studying fine arts, uses these kinds of discarded, found and second-hand objects to explore interactions between production, consumption and the environment. Originally a landscape painter, McIntosh changed mediums when she watched the 2019 drought brutalise the countryside. "It just got to the point where there was no vegetation, everything was dead and the colour of the landscape had disappeared," McIntosh recalled. "I remember looking down at my watercolour palette with all these bright colours and not knowing how (they) were made or how their production possibly had a negative impact on the environment that I love and care for. "It pushed me to, instead of making art about a place, start making art with a place." Her practice involves collaborations with the elements by covering the materials in dirt, leaving them in the wind or submerging them in water. McIntosh also uses food waste and organic material to create natural dyes. "It's a direct example of the environment having the last say - it's influencing everything all the time. "Art is not immune to climate change and it will erode as well if we don't look after the environment." Sowing and Sewing also examines traditional gender roles in rural Australia, using a mixture of domestic materials like fabrics and thread and agricultural items like wire and tarps. One of the works features bullet holes, which McIntosh has mended with delicate thread. "I'm superimposing the male-oriented, imposing impact on the landscape with softer female-oriented notions of care and mending," she said. "But I'm careful not to be too critical of the male-oriented impacts because there needs to be a balance. "It's about trying to figure out that balance." The exhibition is part of the HomeGround program, which supports emerging regional artists to expand their skills and work with staff in an established gallery.
Perth Now
07-06-2025
- Entertainment
- Perth Now
Of mice and Macca's: art's new meaning in old materials
A McDonald's sign blown away by wild winds and gnawed on by rodents during an epic mouse plague may seem like rubbish to most. But to emerging rural artist Clementine Belle McIntosh, the clapped-out McCafe tarpaulin banner is a vivid symbol of the tensions between consumerism and the environment. McIntosh used the advertisement in a piece called Out Of Home, adding layers of papier mache made from old copies of the Gilgandra Weekly newspaper and colour from avocado and onion skins. The four-metre tall work is the centre of her first major exhibition, Sowing and Sewing, at the Western Plains Cultural Centre in Dubbo, western NSW, until September. "I thought it was very poignant about the concepts of global and local exchange," McIntosh told AAP of the McDonald's sign. The 25-year-old's neighbour, a farmer named Doug, gave her the tarp years after he found it blown down by the roadside and used it to cover his grain store during the 2020 mouse plague. McIntosh, who returned home to the village of Gilgandra after studying fine arts, uses these kinds of discarded, found and second-hand objects to explore interactions between production, consumption and the environment. Originally a landscape painter, McIntosh changed mediums when she watched the 2019 drought brutalise the countryside. "It just got to the point where there was no vegetation, everything was dead and the colour of the landscape had disappeared," McIntosh recalled. "I remember looking down at my watercolour palette with all these bright colours and not knowing how (they) were made or how their production possibly had a negative impact on the environment that I love and care for. "It pushed me to, instead of making art about a place, start making art with a place." Her practice involves collaborations with the elements by covering the materials in dirt, leaving them in the wind or submerging them in water. McIntosh also uses food waste and organic material to create natural dyes. "It's a direct example of the environment having the last say - it's influencing everything all the time. "Art is not immune to climate change and it will erode as well if we don't look after the environment." Sowing and Sewing also examines traditional gender roles in rural Australia, using a mixture of domestic materials like fabrics and thread and agricultural items like wire and tarps. One of the works features bullet holes, which McIntosh has mended with delicate thread. "I'm superimposing the male-oriented, imposing impact on the landscape with softer female-oriented notions of care and mending," she said. "But I'm careful not to be too critical of the male-oriented impacts because there needs to be a balance. "It's about trying to figure out that balance." The exhibition is part of the HomeGround program, which supports emerging regional artists to expand their skills and work with staff in an established gallery.
West Australian
07-06-2025
- Entertainment
- West Australian
Of mice and Macca's: art's new meaning in old materials
A McDonald's sign blown away by wild winds and gnawed on by rodents during an epic mouse plague may seem like rubbish to most. But to emerging rural artist Clementine Belle McIntosh, the clapped-out McCafe tarpaulin banner is a vivid symbol of the tensions between consumerism and the environment. McIntosh used the advertisement in a piece called Out Of Home, adding layers of papier mache made from old copies of the Gilgandra Weekly newspaper and colour from avocado and onion skins. The four-metre tall work is the centre of her first major exhibition, Sowing and Sewing, at the Western Plains Cultural Centre in Dubbo, western NSW, until September. "I thought it was very poignant about the concepts of global and local exchange," McIntosh told AAP of the McDonald's sign. The 25-year-old's neighbour, a farmer named Doug, gave her the tarp years after he found it blown down by the roadside and used it to cover his grain store during the 2020 mouse plague. McIntosh, who returned home to the village of Gilgandra after studying fine arts, uses these kinds of discarded, found and second-hand objects to explore interactions between production, consumption and the environment. Originally a landscape painter, McIntosh changed mediums when she watched the 2019 drought brutalise the countryside. "It just got to the point where there was no vegetation, everything was dead and the colour of the landscape had disappeared," McIntosh recalled. "I remember looking down at my watercolour palette with all these bright colours and not knowing how (they) were made or how their production possibly had a negative impact on the environment that I love and care for. "It pushed me to, instead of making art about a place, start making art with a place." Her practice involves collaborations with the elements by covering the materials in dirt, leaving them in the wind or submerging them in water. McIntosh also uses food waste and organic material to create natural dyes. "It's a direct example of the environment having the last say - it's influencing everything all the time. "Art is not immune to climate change and it will erode as well if we don't look after the environment." Sowing and Sewing also examines traditional gender roles in rural Australia, using a mixture of domestic materials like fabrics and thread and agricultural items like wire and tarps. One of the works features bullet holes, which McIntosh has mended with delicate thread. "I'm superimposing the male-oriented, imposing impact on the landscape with softer female-oriented notions of care and mending," she said. "But I'm careful not to be too critical of the male-oriented impacts because there needs to be a balance. "It's about trying to figure out that balance." The exhibition is part of the HomeGround program, which supports emerging regional artists to expand their skills and work with staff in an established gallery.
