Latest news with #Suh
Yahoo
21-05-2025
- Sport
- Yahoo
Ndamukong Suh Discusses Contract Situation That Led to Him Leaving the Team
Back in 2015, the Detroit Lions surprisingly lost their best defender to free agency when Ndamukong Suh left for the Miami Dolphins. The move came after a dominant season from Suh where he posted 8.5 sacks and 21 tackles for loss on his way to earning All-Pro First Team honors for a second consecutive years. Advertisement Now Cincinnati Bengals edge Trey Hendrickson finds himself in a similar situation. Hendrickson was responsible for a league-leading 17.5 sacks on his way to a spot on the All-Pro First Team and a second place finish in the Defensive Player of the Year voting. Unlike Suh, Hendrickson still has a year left on his contract. However, he has made it clear that he has no intention of playing that year without a new deal getting worked out first. Former Detroit Lions defensive tackle Ndamukong SuhAndrew Weber-Imagn Images Suh recently decided to chime in on Hendrickson's contract situation with the Bengals in response to an update on the lack of talks between the two sides. In a social media post, Suh discussed the circumstances that led to his exit from the Lions. Suh ended up signing a massive (at the time) contract with the Dolphins. The six-year, $114 million deal he signed was the largest ever for a defender when he signed it. Advertisement It was also worth more per year than the three-year, $53 million contract extension Matthew Stafford had signed with the Lions two years earlier. The Lions have been much better about paying their homegrown stars in recent years. Amon-Ra St. Brown and Penei Sewell are both among the most well-paid players at their positions. Kerby Joseph recently became the NFL's most expensive safety. They even paid a defensive tackle as Alim McNeill currently has the fifth-largest contract at his position. Things didn't work out between the Lions and Suh, but the current front office is clearly handling things differently and that has worked out pretty well for both the franchise and the team's core. Advertisement Related: Tom Brady Names Four-Time Lions All-Pro as One of the Players He Was Most Afraid to be Hit By Related: Lions QB Named a Potential Trade Target for Saints Following Derek Carr's Retirement
Qatar Tribune
20-05-2025
- Sport
- Qatar Tribune
Gauzy shocks Gaoyuan to move into PQF
Tribune News Network Doha Simon Gauzy produced one of the biggest upsets of the Word Table Tennis Championships - Doha 2025 as the frenchman stunned China's Lin Gaoyuan 4-2 (2-11, 11-8, 13-11, 6-11, 11-1, 11-3) to advance into the Men's Singles Round of 16 at the University of Qatar's sports arena on Tuesday. Gauzy recovered brilliantly after a slow start, showcasing tremendous mental fortitude and tactical brilliance to overcome one of China's elite players. Wrapping up a thriller of day three of the championships in Doha, South Korea's pairing of Kim and Lee provided one final upset by defeating Chinese Taipei's fifth-seeded Cheng I-Ching and Li Yu-Jhun 3-1 (12-10, 8-11, 9-11, 11-5) in Women's Doubles. The Korean duo's victory added to the day's narrative of unexpected results that have continued to reshape the tournament landscape. Croatia's Rakovac continues fairytale run Croatia's Lea Rakovac claimed yet another major scalp, defeating Korea Republic's 17th seed Suh Hyo Won 4-2 in a stunning performance. This victory carries special significance for Rakovac, who was defeated by Suh in the first round of her World Championships debut back in 2013. Twelve years later, the Croatian has completed a perfect redemption story, eliminating Suh in what is believed to be the Korea Republic's defensive specialist's final worlds Championships appearance. Italian teen Monfardini creates history Italy's young star Gaia Monfardini eliminated Hong Kong, China's Doo Hoi Kem in a nail-biting seven-game thriller 4-3 (11-9, 11-1, 7-11, 4-11, 11-11, 6-11, 11-7). The Italian teenager showed incredible composure in the deciding game to claim the biggest win of her career and become the first Italian woman to reach the Round of 32 at the World Championships in over a decade. Quadri Aruna delivers for Africa Nigeria's Quadri Aruna lived up to his reputation as Africa's finest, defeating Germany's 14th seed Benedikt Duda 4-2 (11-9, 4-11, 12-11, 12-10, 9-11, 11-9) in their highly anticipated clash. Aruna, who made history in 2021 as the first African player to reach the Men's Singles quarterfinals at the World Championships, showed why he remains one of the most dangerous players in the draw, combining explosive power with tactical awareness to overcome his European rival. Doubles action heats up The Egyptian duo of Youssef Abdelaziz and Mohamed El-Beiali made history by becoming the first African pair to reach the quarterfinals of the Men's Doubles event at an ITTF World Championships. They continued their impressive run by defeating the Greek-Slovak combination of Wang and Angelakis 3-0 (11-8, 11-9, 11-7). The Egyptians look increasingly dangerous advancing to the quarter-finals. Kallberg upstages Abdulwahab Sweden's 15th seed Anton Kallberg halted local hope Mohammed Abdulwahab in the men's singles round of 64, posting a brisk straight-games victory that lasted just 33 minutes 35 seconds. Källberg dictated the tempo throughout, breaking clear in the opening two games 11-6, 11-6 before staving off a spirited fight-back to edge the third 11-9. He then closed out the contest 11-7, sealing a 4-0 success, booking a last-32 berth and ending the home favourite's maiden world-championship run.
Winnipeg Free Press
10-05-2025
- Health
- Winnipeg Free Press
Sponsored Content How Vertical Farming Is Strengthening Food Security in Manitoba
The Problem For decades, food insecurity has plagued Manitoba's isolated northern communities. In these areas, high transportation costs make healthy food harder to find and more expensive for individuals and families. Dr. Miyoung Suh, professor in the Department of Food and Human Nutritional Sciences at UM Now, rising tensions – including U.S. threats to place tariffs on Canadian agricultural exports – are exposing vulnerabilities in Canada's food supply chains. If trade is disrupted, it could become even more difficult to get affordable produce into remote areas. 'Food security is increasingly tied to global trade dynamics,' says Dr. Miyoung Suh, a professor in the Department of Food and Human Nutritional Sciences at the University of Manitoba (UM). 'When access to affordable, high-quality foods is restricted, we see rising rates of diabetes and obesity, especially in northern Indigenous communities. The Solution In response, a team from UM is working in Northern Manitoba with Opaskwayak Cree Nation (OCN) to address health challenges and support local food sovereignty. Together, they identified a local solution: Smart Vertical Farming (SMART-VF). This innovative, space-efficient system uses computer-monitored lighting and climate control to grow fresh herbs and vegetables year-round. By producing food directly in the community, SMART-VF reduces reliance on costly imports and ensures a steady supply of fresh food. Suh says the concept is showing promise. Opaskwayak Cree Nation (OCN) Smart Vertical Farming 'The ability to grow food locally – regardless of what's happening south of the border – offers communities a measure of sovereignty and stability,' Suh says. 'We're not just trying to improve fresh vegetables access; we're trying to change the trajectory of chronic health conditions to help combat disease. Initial research with these vegetables has already shown encouraging results in reducing blood pressure and obesity, with further data on diabetes expected by the end of 2025. The Impact By supporting communities to produce their own food, this research reduces dependency on imports and creates year-round access to fresh, nutritious food. 'For generations, colonialism has disrupted our connection to the land and traditional food systems. SMART-VF gives us the tools to grow food on our terms, provide food security and build a healthier future within our community', explains Stephanie Cook, Smart Farm Manager at the Opaskwayak Health Authority. 'We're not just trying to improve food access; we're trying to change the trajectory of chronic health conditions' This local supply helps lower costs and barriers, while strengthening local economic development. 'The produce will be cheaper, making it more affordable. It will also be more accessible, making it easier for people to buy vegetables and incorporate them into their everyday diet,' Suh says. 'Additionally, the facility will provide employment opportunities in crop management and tech-driven agriculture.' For nearly 150 years, the University of Manitoba has transformed lives through groundbreaking research and homegrown innovation. We push the boundaries of knowledge and do the hard work here in Manitoba to move our community and the world forward. Our researchers tackle society's most pressing challenges, from healthcare and sustainability to Arctic accessibility and security, delivering solutions that make a real impact. With a spirit of determination and discovery, we are shaping a better future for our province and beyond.
Time Out
02-05-2025
- Entertainment
- Time Out
Do Ho Suh: Walk the House
Reflecting on themes of memory, migration and the home, South Korean conceptual artist Do Ho Suh is internationally renowned for his vast fabric sculptures and meticulous architectural installations. This year, he's finally presenting a major exhibition at Tate Modern, in the city he currently lives, showcasing three decades of his work including brand-new, site-specific pieces. The exhibition begins with Rubbing/Loving Project: Seoul Home (2013–2022), a full-scale rendering of Suh's childhood hanok house in Korea, made of delicate off-white paper. Created through traditional rubbing techniques, the imprint of every surface, from the walls, floors, and fixtures, is captured in the material. This isn't simply a house – it's a lived experience, transposed onto graphite and fibre. The structure feels both solid and spectral, as if memory itself had drifted into the gallery and taken form. As the exhibition progresses, Suh leans further into his exploration of the spaces we carry within us. In Nest/s (2025), visitors walk through a corridor of interconnected translucent 'rooms' in vivid colours, where every detail, from light switches to radiators, is precisely rendered. Suh allows the viewer to activate the work through their movement, transforming it into a shifting, porous membrane. This structure leads to Perfect Home: London, Horsham, New York, Berlin, Providence, Seoul (2024), a life-size outline of Suh's current home in the UK, filled with domestic fixtures from the many places he has lived. Colour-coded and installed at their original heights, these familiar objects form a layered, disorienting map of Suh's past, becoming a quiet, spatial autobiography. Suh suggests that the idea of a perfect home is an illusion Suh is fascinated by graphs, mapping, ordering and measuring to distill ideas. His Bridge Project takes the themes present in the interior installations and magnifies them onto a global scale. The work imagines a bridge, connecting the cities he's lived in (Seoul, New York and London) and points to its midpoint in the Arctic Ocean: a place that is claimed by no one yet threatened by all, somewhere charged with climate anxiety, colonial histories and statelessness. In this speculative space, Suh suggests that the idea of a perfect home is itself an illusion. The void becomes a space of resistance, against fixed borders, national identities and the politics of belonging. Each element of the exhibition, from the drawings to the installations and films, is individually compelling. But the space itself feels compressed; the works are densely arranged and you can't help but feel that each piece would benefit from more room to breathe. As it stands, the intimacy of Suh's practice risks being overwhelmed by the tightness of the display. That said, his message is clear. In an age defined by global migration and shifting borders, the home is a charged space: at once personal and political, defining a threshold between private and public, past and present. His intricately rendered fabric and paper reconstructions of the houses he's inhabited go beyond architectural replication: they chart emotion, displacement and adaptation, and they do so beautifully.
New York Times
01-05-2025
- Entertainment
- New York Times
The Artist Who Keeps Remaking His Childhood Home
The artist Do Ho Suh's London studio is a mazelike series of spaces within a Victorian warehouse complex in the northern Islington neighborhood. In one room, a wall is covered in monochromatic mesh maquettes of sculptures that resemble his former homes in Seoul, New York and Berlin. In another, spools of rainbow-toned fiber line workbenches and shelves; Suh, 63, and his team of about a dozen will pull from them to create his shaggy 'thread drawings,' which depict bodies and architectural structures that dissolve into masses of fine lines, embedded in handmade paper. On the other side of a central, winding staircase is the room where the artist does his mechanical work: At a wooden table, a robotic arm hovers above a prototype of one of his house-inspired sculptures in red thermoplastic polyester, a material that's become one of Suh's signatures. Just as each part of his studio tells a different story about his practice, many of Suh's house sculptures combine rooms from various times and places in the artist's life. These works, which have defined his three-decade career, are typically life-size, made from gauzy, colorful fabric with an ethereal quality. 'Home Within Home Within Home Within Home Within Home' (2013), for example, mimics a Russian doll: A replica of Suh's childhood home in Seoul is engulfed by a true-to-size fabric imitation of the three-story Providence, R.I., townhouse where he lived when he first moved to the United States in 1991. For 'Staircase-III' (2010), he created a red, semitransparent polyester and steel staircase inspired by the apartment in New York's Chelsea neighborhood that he rented for almost twenty years starting in the mid-1990s, though this version hangs upside-down from the ceiling. Suh's works are as much about precise re-creation — incorporating details as small as light switches and plug sockets — as they are about distortion. Ultimately, they capture how the act of relocation can influence memory. Though Suh is the son of an artist — the influential Seoul-based abstract ink painter Suh Se-ok, who died in 2020 — he had early ambitions to be a marine biologist, in part because of his fascination with an anonymously created 10-panel painting of groups of fish swimming together that his parents displayed in their home. When he began making art, he similarly fixated on how temporary homes and communities are made and then left behind. He learned traditional painting techniques at Seoul National University in the 1980s, then went on to earn undergraduate and graduate degrees at Rhode Island School of Design and Yale, where his work became more sculptural. Suh made his first true-to-scale duplication of his childhood house in 1999: 'Seoul Home/L.A. Home/New York Home/Baltimore Home/London Home/Seattle Home' is fully collapsible, constructed entirely from silk organza in the same light jade green as the original ceilings of that dwelling, which his father built in the 1970s, itself a replica of a 19th-century, Yi dynasty residence. As Suh puts it, 'I make highly personal spaces public.' For his major survey exhibition at Tate Modern in London, which opens this week, Suh has created a new piece, 'Nest/s' (2024), that places eight semitransparent fabric rooms and passageways from his different homes in one long line. Visitors can walk through the work, which Suh calls a 'time and space entanglement' — the structures' edges overlap, much like the artist's memories of each place. The exhibition also includes the 2018 video 'Robin Hood Gardens,' which was filmed at a Brutalist housing project of the same name in Britain in 2017, just before it was demolished, its tenants having been forcibly removed. A translucent screen divides that video's projection from other nearby works in the show, allowing some of its light to leak onto the external walls of Suh's replica of his childhood home, 'Rubbing/Loving Project: Seoul Home' (2013-22). The blurring between the two works mirrors the artist's practice as a whole: deeply personal, yet also porous, making room for the presence — and interpretation — of strangers. In March, seated at a large table in his studio, Suh answered T's Artist's Questionnaire. What's your day like? How much do you sleep, and what's your work schedule? I'm not the kind of artist who will come to the studio at 8 a.m. and work all day. For about eight years, until two years ago, I had to wake up [early] to take my two daughters to school. But I've never been a morning person; now, I wake up when I want to wake up. What's the first piece of art you ever made? The oldest piece that still exists is one I made when I was four. I scribbled [random markings] on one of my mother's cabinets. It's fading, but I know where it is. My first 'real' art was probably 'The Work,' a set of painted, folding screens I made in graduate school [at Seoul National University] in 1987. What's the worst studio you ever had? It was in Dumbo, [Brooklyn], around 2000. It was a shithole, I have to say. There were dogs running around in the streets outside. People were mugged all the time. The building was huge, and there were rats everywhere. I was there for three or four years but I didn't know my neighbors until right before I moved out. They were making porn films! I came out of the studio and there was a lady passing by, completely naked. Strange things happen in New York. What's the first work you ever sold? For how much? An etching that I made [at Seoul National University] called 'Heaven and Earth.' It sold for probably around $30. When you start a new piece, where do you begin? It feels like I have a carousel or Ferris wheel spinning in my mind all the time, with ideas that have already been conceived and are waiting to find the moment to come out. How do you know when you're done? My work is completed as soon as I conceive the idea. The rest is just making it happen — [that's when] I face obstacles. But the important thing in my practice is how much of the purity of the idea is in the final piece. The last thing I want is to create a piece that's been compromised. That's my rule, which makes my team mad. How many assistants do you have? In the traditional sense I probably have two to three assistants. They help with physical things. But I hardly ever call them assistants; they're team members. The rest of my team is about nine people, and they're all young professionals who have their own expertise [like mechanical production and studio management]. I can't make art without them. The way I try to run my studio is to be open and democratic. Have you assisted other artists before? I did for maybe two days when I was a graduate student. I studied at Columbia for one year before I went to Yale, and I helped my professor, [the American artist] Jon Kessler, organize his studio in New York. I supported myself financially by doing carpentry, graphic design, album covers and sometimes translations or interpretations [for example, between Korean shop owners and a film crew working with them]. What music do you play when you're making art? When I'm starting on drawings, I have to concentrate, so I don't listen to anything. When I feel like the work is going well, then I bring music in: I'll listen to my daughters' rock and pop school concerts over and over again. During in-between times, like when I'm tidying the studio, I listen to Buddhist chanting. When did you first feel comfortable saying you're a professional artist? I was having the hardest time right after Yale in the late 1990s. I moved to New York and was living in this tiny apartment and couldn't find a studio. There was a financial crisis in Korea and the money was slashed for all the projects I was doing there. My future wasn't clear at all. I was lying on my bed one day after I came back from this carpentry job and all of a sudden, I had this thought, 'I'm going to be an artist.' It probably should've been the time when I decided to give up, but I had clarity in that moment. What do you do when you're procrastinating? My father was a painter, and he was also a professor at Seoul National University. He was always late to class. He spent hours every day in his garden picking up pine needles one by one. I now find myself doing very similar things. I have a lot of downtime and people think I'm not doing anything creative. I do all the laundry at home, and I love folding it. But it's not really procrastinating; I could come up with an idea while I'm doing that. I don't think artists ever rest. I wish I could go on holiday and just switch off. There's this thin thread that artists are always trying to hold onto. What's the last thing that made you cry? Small cry or big cry? I have a lot of small cries, but my last big cry came totally unexpectedly in November. My father passed away four years ago, and the family donated his paintings to the local council [in Korea]. We're trying to build a small museum — it's 3,000 pieces of his own work and his collection [which includes pieces by the 18th-century Korean landscape painter Gyeomajae Jeong Seon and the 19th-century calligrapher Chusa Kim Jeong-hui]. It's been a long process, and in November, finally, the Korean government approved the funding. That was the biggest hurdle. When I heard that news I couldn't stop crying. I also cry every time I leave Korea and say goodbye to my mum. When I see the expression on her face. What do you pay for rent? Every month is different. We rent temporary spaces project by project. What do you bulk buy with most frequency? Probably toilet paper. And maybe espresso capsules. Do you exercise? Yes, mostly for my mobility. A little bit of stretching and weight training. Are you binging on any shows right now? 'Dance Moms.' It's torture. But the rest of my family loves it, so we watch it together. What are you reading? I just finished a book on beetles, 'Lucanidae of the World' (2023) by Dooseok Yi. He's an architect, not a professional biologist, but he is obsessed with distinguishing subspecies. The pictures are so beautiful. I'm also reading 'Einstein's Dreams' (1992) by Alan Lightman, a book about theoretical physics that tries to explain the origin of the universe and time. It's a simplified version, like physics for dummies. I want to be reborn as a physicist; I think they're close to unlocking the secrets of the universe. I've found so many similarities between quantum physics and Buddhism. What's your favorite artwork by someone else? I don't have a single one, but Felix Gonzalez-Torres is one of my favorite artists of all time. His stacks of candies and of posters that visitors could take for free were such a generous gesture. [In works like 'Untitled (Portrait of Ross in L.A.)' (1991), Gonzalez-Torres allowed viewers to remove pieces of the installations, as a way of symbolizing loss and the diminishment of loved ones living with H.I.V./AIDS.] I want to have a similar type of generosity: I let the viewer explore my work as freely as possible [by allowing them to walk through each structure]. Which work of your own do you regret, or would you do over in a different way now? I never feel 100 percent satisfied with the work, but I wouldn't use the word 'regret.' I think there's a reason every single work is there. Sometimes the idea is great, but I realize it won't answer all my questions. But that leads to other projects. It's a different mechanism than regret: It's motivation to keep making work.
