Latest news with #Remembering
Yahoo
10-07-2025
- Entertainment
- Yahoo
Prince William & Kate Middleton Mourn Devastating Loss on Anniversary: ‘Remembering'
Prince William & Kate Middleton Mourn Devastating Loss on Anniversary: 'Remembering' originally appeared on Parade. and mourned a devastating loss of life on the 20th anniversary of the 7/7 attacks in London. On Monday, July 7, the Prince and Princess of Wales' official Instagram account shared photos from an event with survivors and family members of those who died in the 2005 bombings. The coordinated suicide attacks by four Islamist terrorists killed 56 people on London's subway and bus system. 🎬 SIGN UP for Parade's Daily newsletter to get the latest pop culture news & celebrity interviews delivered right to your inbox 🎬 "Remembering the victims of the 7/7 attacks on this 20 year anniversary by joining survivors and bereaved families at the Memorial Gardens in Hyde Park this afternoon," the royal couple captioned their update. They added, "Our thoughts remain with the families and friends of those who lost their lives, and with those who bear the scars of the attacks to this day." In the carousel of snaps and video clips, Prince William stood with those gathered at the event but Middleton was notably absent. Royal fans responded to the update in the comments, with one writing, "We will always remember them always. Sending our deepest condolences to those families still affected by this terrible attack 🙏💔." Another shared, "God bless the victims and their families.❤️💔🙏." Someone else commented, "A devastating day. Condolences to all those who were affected ❤️." A different Instagram user lamented, "I remember this like it was yesterday 😭." Meanwhile, yet another follower wrote, "Forever in our hearts. We remember. 🕊️❤️." Next: Prince William & Kate Middleton Mourn Devastating Loss on Anniversary: 'Remembering' first appeared on Parade on Jul 7, 2025 This story was originally reported by Parade on Jul 7, 2025, where it first appeared.
Time of India
09-07-2025
- Entertainment
- Time of India
Tribute to Bhowanipore's Guru Dutt on centenary
1 2 Kolkata: Guru Dutt was not born in Kolkata but the city had lived in him since he shifted here and grew up as a Bhowanipore resident. Fluent in Bengali and an avid reader of Bengali literature, Dutt married iconic Bengali singer, Geeta Ghosh Roy Chowdhuri, and filmed at least two of his cult movies in Kolkata. To commemorate his centenary, film enthusiasts from across India will gather for a day-long event at the Kolkata Centre for Creativity on Friday. Richa Agarwal, chairperson of the centre, described "Yeh Duniya Agar Mil Bhi Jaye Toh: Remembering Guru Dutt" as a space to reflect on cinema and not just a tribute. After completing his schooling in Kolkata, Dutt took up a job of a telephone operator in the city in 1942. You Can Also Check: Kolkata AQI | Weather in Kolkata | Bank Holidays in Kolkata | Public Holidays in Kolkata "He watched Bengali films at Jyoti theatre next to his home, attended jatras, heard Baul songs and watched the dance dramas of Uday Shankar that had a deep impact on him. He admired the work of PC Barua, Debaki Bose, Nitin Bose, Phani Mazumdar. In his own cinema, we see the influence of these film-makers," said Ira Bhaskar, former dean of School of Arts and Aesthetics, Jawaharlal Nehru University, who will deliver the keynote address. Bhaskar will present the programme's keynote address, titled 'Affect, Authorship, and Ideology. Dutt's association with Uday Shankar's School of Dance and Choreography in Almora impacted his work. JU professor Madhuja Mukherjee, who will also deliver a talk at the event, said Dutt's 'Pyaasa' is set in Kolkata. The song, 'Jaane kya tune kahi' featuring Dutt and Waheeda Rehmanwas shot at the Prinsep Ghat. Stories abound about Dutt's friendship with novelist Bimal Mitra whose 'Sahib Bibi Aur Ghulam' was adapted for the 1962-classic. It was partially shot at the Indo-English castle of the Gaines in Dhanyakuria. "Guru Dutt began to remake Nitin Bose's 'Saathi'/'President.' When he died in October 1964, he was remaking this film as 'Bahaaren Phir Bhi Aayengi'— set in Kolkata — with Mala Sinha and Tanuja as his co-stars. As he died, it was finished by his team, including his brother Atma Ram and released as a Guru Dutt production in 1966 with Dharmendra playing his role," Bhaskar said. Dutt had also started shooting his Bengali directorial debut titled 'Gouri', based on the life of a sculptor. But the project was shelved. "Geeta Dutt sang for all his films. In many of his films, SD Burman and Hemant Kumar composed the music," Bhaskar added.
News18
25-06-2025
- Entertainment
- News18
Sonam Kapoor And Isha Ambani Bring Star Power To Serpentine Summer Party, Pose With Cate Blanchett
Sonam Kapoor attended the Serpentine Gallery and was announced as Member of the Summer Party Host Committee. She posed with Cate Blanchett and Isha Ambani. Bollywood star and global fashion icon Sonam Kapoor yesterday visited the Serpentine Gallery and was also announced as Member of the Summer Party Host Committee while attending Arpita Singh's exhibition: Remembering. Following the exhibition, Sonam attended the Serpentine Summer Party, co-hosted by Academy Award Winner Cate Blanchett which is an invitation-only fundraiser designed to bring together leading individuals and supporters of the institution from the worlds of art, fashion, business and technology. Sonam Kapoor was seen posing with none other than two-time Oscar-winning actress Cate Blanchett. Cate, who is regarded as one of the most accomplished and revered figures in Hollywood, has won Academy Awards for her performances in The Aviator and Blue Jasmine. At the event, she made a bold sartorial statement in an intricately embellished dress featuring seashells, metal accents, and a sculptural hip detail — a look that was nothing short of avant-garde and theatrical, in true Blanchett fashion. Also in attendance was Isha Ambani, who looked radiant as always in a champagne-toned beaded dress that shimmered in the evening light. The sleeveless dress featured a petal-like pattern, delicate embellishments, and a soft flared hem that added to the dreamy vibe. Isha's soft waves, natural makeup, and sparkling heels completed the look — she truly looked elegant and effortlessly beautiful. At the Summer Party, Sonam, the global ambassador for the French luxury fashion house Dior, sported a Kimono jacket from the Dior Fall 2025 collection, embracing cultures through the world with her fashion. Others present at the fundraiser included Isha Ambani, Eiza González, Alicia Vikander, Rebel Wilson, Georgia May Jagger, Lady Amelia Spencer, Lady Eliza Spencer, Lily Allen and more. After the fundraiser, Sonam Kapoor along with Serpentine Trustee Eugenio López Alonso hosted the Serpentine Summer Party After Party where she sported a full Givenchy look with a leather trench coat, a debut from Sarah Burton's Paris collection. First Published:
The Guardian
21-03-2025
- Entertainment
- The Guardian
‘I spent six years just repeating dots and lines': the great painter Arpita Singh on a lifetime in art
When Arpita Singh's Remembering opened this week at the Serpentine in London, despite being one of India's leading artists, it was her first solo institutional show outside her native land in her six-decade-long career. It also marked the first time the Serpentine has given over its main galleries to a show by a south Asian artist. But Singh, who spends most of her waking hours in her Delhi home studio, is muted in her reaction. 'Serpentine is a known gallery, so it is a prestigious thing for me,' is about as effusive as she gets. At 87, Singh is reluctant to give her time to anything that might take her away from her canvas – and that includes this interview. Her vivid, unhinged paintings, chock-a-block with adrift figures, motifs and text often structured by narrow borders crammed with ornament, have won her a devoted following. In an epic Mappa Mundi-like piece, My Lollipop City: Gemini Rising, perspectives jar and scales switch in a way that jauntily recalls storytelling scroll paintings and lavishly detailed miniatures. These splashy, discordant canvases are also stacked with influences from the European modernists Singh encountered during her fine art studies at Delhi Polytechnic in the late 1950s under modernist legends Biren De and Sailoz Mookherjea. 'In our third year, our professor took us to the library and introduced us to western art,' Singh recalls. 'I was so impressed by Der Blaue Reiter and Kandinsky. More so than the French artists.' At the time, international art could be seen only in printed reproductions. India was a recently independent country, and although Nehru, then prime minister, had just opened the National Gallery of Modern Art in Delhi, it was not – and isn't today – a space for touring shows from the west. But the little that Singh saw deepened her curiosity, and she went on to read those artists' writings. She singles out Paul Klee as her favourite. Forty-eight years after absorbing his written output, she finally stood face to face with his original paintings during a trip to Switzerland. The experience was revelatory. Singh tells me that she wanted to say: 'Master, I have come back to you.' Klee's influences are particularly apparent in one of Singh's earliest watercolours, a patchwork of lightly painted shapes of colour that opens her Serpentine show. For many, this will be strikingly at odds with the figurative imagery that has made her one of India's most highly valued female artists. Singh's style fluctuated after art school, when she was also a consultant at the Weavers' Service Centre, a government co-op tasked with preserving and promoting India's textile traditions. One can see her testing different styles in off-kilter scenes where Chagall-like waywardness is crossed with surrealist eccentricity. Being given her first solo show in the centre of Delhi by Kekoo Gandhy, an esteemed art dealer, plunged her into a period of doubt and introspection. Feeling that she was 'not moving naturally on canvas' she decided to give up 'painting figures' and turned to the fundamentals – dots and lines – in an effort to retrain herself. 'For six years, I kept repeating these dots and lines,' she says. 'It naturally became an abstract form.' When she did return to figuration, in the 1980s, the social and political experiences of a country reeling from Indira Gandhi's imposition of emergency rule suffused her ostensibly whimsical worlds. And yet, even as Singh's paintings make allusions to state violence, most often through the inclusion of a lurking military figure, her work from this time can seem curiously dulled and undramatic. Look closely and amid the chubby flowers and squat aeroplanes, most of her subjects seem forlorn and apathetic. As Atul Dodiya, a fellow artist who is close to Singh clarifies: 'The work is superficially childlike and naive, but it comes from deep experience.' It would be wrong, however, to consider her work an articulation only of her life. Women take up a large portion of space in her paintings, usually eclipsing men. But their colouring, often a chalky pink or pale, distances them from Singh. The goddess figure brandishing a small pistol in the painting Devi Pistol Wali is not a stand-in for Indian society. Neither is it a statement of female power in the face of victimisation. 'It is nothing like that,' Singh tells me. 'Why must I see her as a source of power? Neither do I see a man as a source of power. Both are the same for me.' When I gently ask her about the maternal figures that recur in her works and how her experience of motherhood (Singh's only daughter, the artist Anjum Singh, died of cancer aged 53 in 2020) might have affected her practice, she replies with a question: 'How can that change my work?' Singh has never allowed herself to feel limited. She stayed clear of the artistic debates that consumed others such as the Bombay Progressive Artists' Group and Group 1890, and has avoided being dogmatic about her process. That might be why, over her illustrious career, she has been reluctant to speak to the press. She has, it seems, been protecting the freedom of her vision. Singh's stimulus is varied, her practice porous and her paintings animated by their time. As Nilima Sheikh, another of India's visionary artists who has written on Singh's work and exhibited with her extensively, told me, Singh 'has a way of seeing things completely, which I have tried to emulate'. This comprehensive vision is fed by newspaper stories, text from books and exhibition catalogues, aspects of theatre and dance that mix with her memories. 'Things happen on their own,' Singh says. 'The affairs of political and social life come into my painting like the way light comes as colour and breeze comes as movement.' Ultimately, Singh is concerned with form and visual drama. And she realises these with apparent ease; her paint glides – from areas where it looks like sheets of paper to patches of thick impasto – so effortlessly that, she says, it feels as if the paintings are painting themselves. Arpita Singh: Remembering is at Serpentine North gallery, London, until 27 July
