Latest news with #Triennial
The Irish Sun
19-07-2025
- Entertainment
- The Irish Sun
The up-and-coming English seaside town with beachfront hotels, viral Kate Bush event and new ‘open-air art' trails
WHAT do Kate Bush and Folkestone have in common? Absolutely nothing — apart from one day of the year when nearly 1,000 red dress-clad Kate fans descend on the town to celebrate the singer. 5 The lighthouse cool bar Credit: Alamy 5 Participants celebrate Wuthering Heights day Credit: PA 5 The town's scenic harbour Credit: Alamy Called The Most Wuthering Heights Day Ever, the unusual event has been running in the Kent town since 2023 and kicks off at midday today on the harbour front. It's certainly a sight to behold — men and women throwing their arms in the air, dancing to the famous Wuthering Heights song. But even non- Launching today is the Folkestone Triennial, a huge open-air art exhibition that takes place every three years. Read More on Travel It features 70 pieces of artwork, including works by Tracy Emin, Chased by oysters One of my favourite spots is the beautiful Lighthouse Bar inside a former lighthouse. Look up and you will see 'Weather is a Third to Place and Time,' painted on the side, a leftover piece from the 2014 Triennial. Look even further and you might glimpse France. Most read in Best of British It's not a place for sitting indoors — there are barely more than a couple of tables. Instead grab one of the benches lining the harbour. Martin Lewis warns about strict passport rule that could see you board your flight - only to get sent home on arrival There is no better feeling than having the sea breeze blow past, and watching errant paddleboarders while sipping a glass of champagne chased by oysters. I'm surrounded by city dwellers (dubbed DFLers — Down From Londoners) who are all exclaiming how surprised they are by the town. Lighthouse Bar owner Simon explained to me: 'We were told we were mad to open in Folkestone ten years ago — now look at us.' Often aligned with other Kent seaside destinations Most tourists will flock straight to the Harbour Arm, which is celebrating its tenth anniversary this year. Lined with shipping containers serving food and drink, every summer there are new additions to the complex. My favourite new stall this year is The Mompling House, serving Nepalese snacks with juicy steamed momo dumplings and aloo chops, a spiced potato croquette. There's the award-winning Rocksalt, serving up fresh seafood while overlooking the harbour. Or new this year is Pomus, a restaurant that opened earlier this month after success in But my favourite spot is Marley's, an unassuming place from the outside that offers a small, farm-to-table menu inside (be sure to try the zesty pan-fried sea bass). 5 The town's quaint, quirky shops Credit: Alamy 5 When the booze and food becomes too much, the best place for some respite is The London & Paris Hotel Credit: Alamy It's one you'll need to make reservations for, as it is always full of locals, but it's one that's worth the wait. You can barely turn a corner without spotting a bar here. I inadvertently ended up doing my own drinks crawl, after being tempted inside many of them. Two must-visits are Burrito Buoy for their frozen margaritas, or The Beer Shop Folkestone, which serves up local craft beers. When the booze and food becomes too much, the best place for some respite is The London & Paris Hotel. First opened in 1853 to cater for travellers heading across Each of the rooms has a sea view, all with modern coastal chic decor — think blue striped walls and floral patterned pillows. It felt like my head barely touched the pillow of my extremely plush king-size bed before I was woken up to the sound of seagulls. A tap on the door heralds the arrival of breakfast, a cute hamper with fresh croissants, juice and fruit And being so close to town, my early awakening also meant I was able to make the most of the peace and quiet before the crowds came in for the day. I filled my bag with souvenirs from the Creative Quarter, the famous multi-coloured, steep street peppered with locally run shops. But after all that eating and drinking, you won't see me Running Up That Hill. GO: FOLKESTONE STAYING THERE: One night at The London & Paris Hotel is from £90 on room-only basis (£114 to include breakfast). See OUT & ABOUT: For more on the Folkestone Triennial, see
Boston Globe
15-07-2025
- Entertainment
- Boston Globe
Alison Croney Moses, a Boston artist dedicated to bringing Black motherhood to light, wins de Cordova Museum's $50,000 Rappaport Prize
Alison Croney Moses, who works mostly in wood, carefully manipulates a scale model of her Triennial project earlier this year. Lane Turner/Globe Staff Advertisement Moses was already having a banner year. Her piece called 'This Moment for Joy,' an angular splay of undulating planks of red oak commissioned by the inaugural Boston Public Art Triennial, is perched prominently on an expanse of lawn at the Charlestown Navy Yard right now, in eyeshot of the U.S.S. Constitution Museum. In August, she'll be one of the artists featured in the Outward appearances of success, though, can be misleading. Moses, who balances her art career with the active lives of her two young children, has struggled to find space and time to pursue her work. The prize, she said, is like a pressure valve being released. 'Honestly, I really was in tears,' she said. 'It's hard to tell from the outside, because I know it looks like I'm doing very well, but financially, being an artist in Boston is difficult. It's really, really difficult. This gives me space to breathe.' Advertisement The timing of the prize could hardly have come at a better time. Moses, whose work is largely sculpture, and mosly in wood, has only been able to devote herself full-time to making art in the last two years; before that, she had a 10-year career working in non-proifts, leaving art to brief slivers of time in the evening and on weekends, when work and parenting weren't in the way. Alison Croney Moses, left, and Izaiah Rhodes, her assistant, working on her Triennial commission in her Boston studio this year. TONY LUONG/NYT The prize places no restrictions on how the money can be used, and does not require artists to produce a piece or body of work. On a follow-up call with the Rappaport family, the local philanthropists who fund the prize, Moses made clear both her gratitude and how important a no-strings-attached gift can be for any artist. 'Any time I've had access to unrestricted funding, it's given me the opportunity to get deeper into my practice, 'she said. 'Literally, right before that Zoom call, I was looking at job postings, really thinking: Do I need a full-time job again? Something like this tells me: You are an artist. You should be doing this. And that's huge.' One thing the prize can no longer provide, unfortunately, is the winner being given a solo exhibition at the de Cordova, which it did for many years. The museum has been closed since 2023 for an overhaul of its HVAC system (the last was Advertisement An exhibition of some of Alison Croney Moses's work at the Abigail Ogilvy Gallery in Boston. Mel Taing Thematically, she's devoted: 'This Moment for Joy,' a minimalist cocoon that ripples and curls into a protective embrace, is a monument to the warmth of the Black women in her life who inspire and support her; using elegant wood forms, Moses means to honor Black motherhood and interrogate a society that has made it perilous and undervalued for generations. The prize, she said, is opening her mind to expansive treatments on the theme. A project she's been mulling involving sound and video – both firsts for her, and a real risk to attempt with bills to pay – now seems possible. 'Right now, I work deadline to deadline,' she said. 'I don't ever feel like I'm really able to dream and experiment. Now, I can.' Alison Croney Moses's 'This Moment for Joy,' a project of the Boston Public Art Triennial, remains at the Charlestown Navy Yard, 1 - 5th St. , through Oct. 31. The Foster Prize exhibition opens August 28 at the Institute for Contemporary Art Boston, 25 Harbor Shore Drive. Murray Whyte can be reached at
Sharjah 24
01-07-2025
- General
- Sharjah 24
Sharjah Architecture Triennial announces theme of 3rd (SAT03)
Continuing SAT's mission to reframe architectural discourse from the vantage points of West Asia, South Asia, and the African continent, this edition addresses the growing complexity and dominance of urban life, particularly in fast-developing regions. As cities evolve into hyper-connected infrastructural networks, they have become the primary terrain where social, economic, political, technological and ecological forces collide, fundamentally reshaping how we live, connect and build together. Urban environments now extend beyond the physical boundaries of cities, encompassing vast territorial and cultural differences, digital realms and migratory flows - and every shift resonates across communities with potential global consequences. In this context, architecture must reclaim its role as a critical and imaginative force capable of responding to the nuances and complexities of how we inhabit the world today. Expanding on her approach for SAT03, Vyjayanthi Rao said: "This edition adopts a multi-disciplinary perspective, exploring architecture through the lens of anthropology, grounded in the locality of phenomena and context and remaining attentive simultaneously to global conditions and cultural difference. We are especially interested in exploring migratory movement and the rapid extension and localization of urbanism as building blocks of contemporary social life. The edition will foreground propositions for building civic infrastructure hospitable to these flows, creating new pathways for collective life to prosper in an uncertain and rapidly mutating world." This curatorial vision reflects the long-standing work of Rao and Tavengwa: Rao as an anthropologist and teacher at the Yale School of Architecture, who focuses on urbanism in India and the U.S.; and Tavengwa as a writer and co-founder of CS Studio, which develops experimental methods to reframe cities through plural, interdisciplinary lenses. Architecture Otherwise will embed the Triennial into the city and the Emirate of Sharjah through site-specific installations, exhibitions, performances, workshops and public events. It will convene architects, artists, designers, scholars, cultural institutions and local communities from across the Gulf and the Global South, bringing the Triennial into direct dialogue with the region. For the first time, select participants will also undertake month-long residencies in Sharjah, allowing them to embed their work within its cultural and social context. These initiatives will activate a wide range of urban spaces and invite audiences to engage in critical conversations about the future of architecture and civic life. In line with SAT's commitment to long-term engagement and research, this edition will generate enduring tools, insights, and frameworks that extend beyond the event itself - contributing to a richer, more inclusive architectural discourse. The second public event of SAT03 will be held in November 2025, marking one year until the Triennial's opening. The programme will include the announcement of the first group of participants, followed by a conversation between the selected participants and the curators. This follows the launch of the SAT03 series with 'Meet the Curators' on May 10, 2025.
Boston Globe
20-05-2025
- Entertainment
- Boston Globe
On the sunny side with artist Andy Li
At the Navy Yard, a flagpole fitted with a rotating pinwheel at its midsection will project Li's upbeat vision to the world. At the top, a 4-by-6-foot homemade flag — a Li standard — stitched with the title text in lovingly handsewn font, will wave in the sea breeze. Artist Andy Li with his hand-stitched flag for the Boston Public Art Triennial at the Charlestown Navy Yard on May 13. Jasper Sanchez Li means it as a gentle exhortation to celebrate tiny victories, however minute; and with a website — Advertisement Being seen, really, is the point, Li said. 'Small moments can lead to big successes,' he said. 'So I'm saying don't discount them. Be in the moment. You can't change what happened, but you can choose what to do next. Grasp that and appreciate it.' If it sounds like self-actualization as art, well, Li is just that kind of guy. ''Today is the day' was my mantra,' he said. 'I just kept saying it to myself: 'Today is the day I'm going to get out of bed, I'm going to make myself coffee, I'm going to get through my to-do list.' And it evolved into this project. I wanted to create almost a ceremony for people to honor those moments along with me.' Andy Li's not-quite-finished 'Today is the Day' in the 'Lot Lab' space at the Charlestown Navy Yard for the Boston Public Art Triennial earlier this week. Lane Turner/Globe Staff Li's slogan could as easily be a mantra for the Triennial itself. A broad international affair that sprawls from downtown to Mattapan, Dorchester, Cambridge, and Charlestown, it's been a decade in coming, and Li has been along for the ride. A MassArt grad, he was among a cohort of Boston-based artists chosen for the Accelerator program with Starting in 2015, Now + There peppered the urban landscape with an array of contemporary art projects in 'I want to help people to find their own moments of joy,' Li said. Out there in the open with the whole city watching, the Triennial is his best bet yet. Advertisement ANDY LI: TODAY IS THE DAY A project of the Boston Public Art Triennial. May 22-Oct. 31. Charlestown Navy Yard, One 5th Street. Murray Whyte can be reached at
Boston Globe
19-05-2025
- Entertainment
- Boston Globe
Artist Stephen Hamilton weaves generations of African tradition
Earlier this month, Hamilton's painting — titled 'Under the Spider's Web' — unfurled from the wall and over most of the floor of his Allston studio. It depicts African weavers: a man from Burkina Faso bends over his narrow strip of weaving; a Dida woman from the region of Ivory Coast or Liberia weaves a raffia textile without a loom. They're all from West Africa and West Central Africa. Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up 'They are regions people were taken from during the transatlantic slave trade,' Hamilton said. The traditions he portrays have dispersed all over the Globe. Advertisement Stephen Hamilton at one of two looms that will be used in periodic weaving performances alongside his Triennial painting and textile installation. David L. Ryan/Globe Staff 'Under the Spider's Web' is dense with texture, patterns, imagery, and handwork echoing generations of African traditions. Hamilton dyed yarns for the piece in natural pigments made from indigo, red sorghum, henna, and more. Ropes that hold everything together are hand-braided and dyed. Hamilton, who is textiles for a PhD in African and African American Studies at Harvard , steeps every fiber of his art in research. He pointed to a woven passage on the right of the painted textile 'That's based off of the description from a Dutch trader in the Kingdom of Benin,' he said. Advertisement Triennial curator Tess Lukey first saw Hamilton's work four years ago at the Museum of Fine Arts – the artist had work in the ' His combination of painting and textile art grabbed her, and he was one of the first area artists she thought of for the Triennial. 'He's pushing the limits of what both of those mediums are,' Lukey said. Hamilton, 37, grew up in Roxbury surrounded by murals painted by Stephen Hamilton sorts through yarn he dyed with natural pigments in his Allston studio. David L. Ryan/Globe Staff He learned to weave during a nine-month trip to Nigeria in 2015 thanks to a grant from It's easy to think of 'material culture' as just the things a society generates, but those things can carry mythic weight . The weavers in Hamilton's painting wear deeply researched jewelry and clothing. Advertisement 'There's so much of that imagery that's so rich and complex that people don't have a visual reference to,' the artist said. 'If you're thinking about a Roman legionnaire, there's these immediate visual references that you have. When it comes to Africa, a lot of people don't have that visual reference.' Stephen Hamilton carves wood for the looms in his Triennial installation. Lane Turner/Globe Staff 'I'm very interested in exposing people to that,' he added. 'He's celebrating cloth in this incredible way that brings the past and the present together,' Lukey said. If time collapses in Hamilton's art, space expands. First, in the sheer proportion of his project — this is the largest piece he's ever made . Then, in its warm embrace of the African diaspora. 'I'm thinking about the Black community as a global Black community,' Hamilton said. 'What are these things that connect us?' One answer, he said, is a shared heritage of jewelry, wood carving – and cloth. 'This idea of what cloth represents and clothing represents for Black people is something that is much deeper than simply a physical object, or simply representative of physical appearance,' he said. 'The roots of that go back long before our time in this country, long before the transatlantic slave trade,' Hamilton said. 'There's a deeper history there.' Cate McQuaid can be reached at
