Latest news with #WorldExpos
Miami Herald
06-05-2025
- Entertainment
- Miami Herald
Fragrance Formulas Gallery Vault Opens Online and in NYC
Press Releases Fragrance Formulas Gallery Vault Opens Online and in NYC Olfactory Art Keller honored to launch The Vault, a permanent installation by visionary Master Perfumer Christophe Laudamiel. The Vault lays bare the essence of scent creation, unfiltered, by making finished perfume formulas accessible to collectors acquiring their next pieces, entrepreneurs completing their next market successes or connoisseurs, fans, and museums alike. The unique formulas are available for purchase under a Creative Commons license that allows the owner to exclusively use, distribute, remix, adapt, and build upon the formula in any medium or format, even for commercial purposes, as long as credit is given to the creator. Formulas are available for purchase online after reading a disclaimer. Each formula is only disclosed upon purchase. A rotating selection of eleven of them will be available to smell in a one-of-a-kind immersive experience as of May 8, 2025 at Olfactory Art Keller gallery, in New York City. The Vault offers an opportunity to face the true complexity of scent creation through tangible expressions of artistic vision, for personal enjoyment, investment, exhibition, study or market introduction. Our hope is for The Vault to challenge thousands of year' old perceptions or secrecy and promote the time-permanent possibilities of olfactory art. By acquiring a formula, one invests in the preservation, transmission and perpetuity of olfactory art. Permanent Installation at Olfactory Art Keller NYC as of May, 8th 2025 25A Henry Street, New York City NY 10002 USA Christophe Laudamiel is a Master Perfumer based in New York City and Tokyo. He is known for his unique olfactory compositions, leaving a trail of high-end artistic scent sculptures and signature skin fragrances. His work was integrated in art pieces by Laurie Anderson, Isabel Andriessen, Peter De Cupere, Orlan, Thierry Mugler, and Anicka Yi and has entered the likes of the Cleveland Museum of Art, the Grasse Perfume Museum, the Harvard University Archives, the Swarovski Foundation and the Tibetan Rubin Museum of Art, NYC. Christophe has exhibited at major venues including the Basel, Cooper Hewitt, Guggenheim-NYC/Bilbao and MoMA-Istanbul museums, World Economic Forums in Davos, and inside the USA, Swiss and Japan Pavilions at World Expos. Christophe is the winner of several awards in chemistry and perfumery including the rare lifetime award from the Institute of Art and Olfaction in Los Angeles. He is a relentless advocate of perfumery education and ethics with 150 lectures and speeches, to law makers, academics and the public. He has published a manifesto, several articles and book chapters in major publications, pursues a constant quest for new or little known ingredients. He is the co-founder of the Perfumery Code of Ethics. Photo Mote studios SOURCE: OLFACTORY ART KELLER Related Images press release This story was originally published May 6, 2025 at 12:01 PM.
Korea Herald
26-04-2025
- Entertainment
- Korea Herald
Deadline met, but vision missed: S. Korea's underwhelming show at Expo 2025 Osaka
Expo 2025 in Osaka, Japan, officially opened on April 13. As part of the international media, I had the opportunity to get an early look at several national pavilions on April 9. While many countries were still busy fine-tuning the details of their exhibits, South Korea's pavilion stood out for its preparedness. As local media proudly reported, it was one of the few that met the official deadline and appeared fully ready to welcome visitors. According to local reports, only eight of the 47 countries that committed to constructing their own pavilions had been certified as complete by the end of March. South Korea was praised as a 'model student,' the reports said. But after seeing what the country had put together, I couldn't help but wonder: Was South Korea's punctuality truly a mark of success — or simply the outcome of limited ambition? Did it try hard enough to envision what Korea might look like 20 years from now, 'with hearts,' as the invitation ambitiously promises? The structure itself was too plain. While the enormous digital façade installed at the entrance was visually prominent, the overall architecture lacked the creative flair seen in other national exhibits. Many pavilions embraced bold, imaginative designs to capture visitors' attention, a critical feature according to Shirin Frangoul-Brückner, founder of German architecture firm Atelier Brückner. At World Expos, she noted, "pavilions have roughly two minutes to capture a visitor's eye." Even compared to Korea's own dazzling display at Expo 2020 Dubai, which featured 1,597 rotating cubes symbolizing the vibrancy of Korean culture, the Osaka pavilion seemed to lack ambition. Inside, the experience was mixed. The first exhibition hall lived up to expectations. Visitors could immerse themselves in beams of light moving both vertically and horizontally, intersecting with their bodies, while pre-recorded voices filled the space, creating a uniquely interactive atmosphere rarely seen in other pavilions. However, the second and third halls were disappointing. The second hall, titled "With the Restoration of Life in a Dilapidated City," featured sculptures molded from plastic to resemble concrete — but the quality was underwhelming. Furthermore, while countries such as Germany, France, Singapore and Uzbekistan emphasized sustainability with plans to reuse or relocate materials after the Expo, Korea's pavilion confirmed that its structure and exhibits would be dismantled and discarded after the event concludes in October. The final section showcased a three-sided video installation depicting Korea in 2040. Though it included K-pop elements, the visuals lacked the polish typically seen in music videos created by local entertainment powerhouses. Partnering with leading entertainment companies could have elevated the exhibit and better represented Korea's cultural strengths. By contrast, the French Pavilion collaborated with its luxury brands such as Louis Vuitton, Dior and Celine, producing an installation that reflected both the national soft power of France and high artistic value. South Korea's Minister of Trade, Industry and Energy Cheong In-kyo said during a press conference on the Korean pavilion, 'We will leverage the growing global interest in Hallyu (the Korean Wave) and enhance Korea's national brand through the Korea Pavilion and a range of side events.' Yet what Korea presents at Osaka feels lackluster, especially considering that Hallyu -- the global popularity of Korean content that the minister mentioned himself -- continues to captivate audiences and dominate cultural exports worldwide. One might even ask whether this apparent lack of ambition is, in part, a quiet echo of Seoul's bruising failure to win the bid for the 2030 World Expo in Busan in late 2023, a defeat in securing the very same designation as Osaka's event -- a Registered Expo approved by the Bureau International des Expositions. A true "model student" at global events like the World Expo doesn't just meet deadlines. After all, what the world remembers are not the opening dates — but the bold ideas that shape the future. ssh@
Japan Times
15-04-2025
- Politics
- Japan Times
Emperor meets with Turkmenistan president
Emperor Naruhito met with Turkmen President Serdar Berdimuhamedov at the Imperial Palace in Tokyo on Tuesday. The meeting followed the president's attendance in Turkmenistan's national day event Monday at the 2025 World Expo in Osaka. In the talks, which lasted about 25 minutes, the emperor told the president about his visit to the previous Osaka Expo in 1970, saying, "World Expos create an opportunity for people to open their eyes to the world," according to the Imperial Household Agency. Berdimuhamedov said he hopes that more people will be interested in his country and gain a better understanding of it.
Hi Dubai
14-04-2025
- Hi Dubai
UAE Unveils National Pavilion at Expo 2025 Osaka: A Fusion of Heritage, Innovation, and Global Vision
The United Arab Emirates officially opened its national pavilion at Expo 2025 Osaka, inviting global audiences into an immersive experience that blends heritage, innovation, and international collaboration. The inauguration was led by Dr. Sultan bin Ahmed Al Jaber, Minister of Industry and Advanced Technology and the UAE's Special Envoy to Japan, alongside Minister of State Noura Al Kaabi and Ambassador Shihab Al Faheem. Dignitaries from the UAE, Japan, and beyond attended the opening ceremony. Architecturally inspired by the UAE's iconic date palm, the pavilion reimagines areesh —traditional Emirati architecture—using agricultural palm waste and Japanese woodworking techniques. Its centrepiece, a striking forest of 90 towering rachis columns, was designed by the Earth to Ether Design Collective, a collaboration between Emirati and Japanese creatives. Inside, visitors embark on a sensory journey spotlighting the UAE's strides in space exploration, healthcare, sustainability, and innovation. Dr. Al Jaber highlighted the UAE's drive for inclusive progress, clean energy, and global partnerships, while Al Kaabi reflected on the nation's legacy at World Expos since 1970. At the core of the pavilion are 46 Youth Ambassadors, including 24 Emiratis, representing the UAE's spirit in seven languages. Their presence ensures a personalised, culturally rich experience for every guest. The pavilion is backed by key partners—ADNOC, Space42, PureHealth, and DCT Abu Dhabi—each representing national priorities and future-focused sectors. Located in the Empowering Lives Zone, the pavilion will host forums, workshops, and cultural programmes through October 13, 2025. Visitors can also enjoy Emirati cuisine, shop local designs, and participate in hands-on sessions—cementing the UAE's position as a global connector of cultures, ideas, and innovation. News Source: Emirates News Agency
Arab News
13-04-2025
- Entertainment
- Arab News
Ketchup to Moon rock: What's the point of a World Expo?
OSAKA: Expo 2025 kicked off Sunday in the Japanese city of Osaka but in the age of online information and mass tourism, what is the purpose of a World's Fair? The huge events, which draw millions of visitors to a chosen city every five years or so, hark back to London's 1851 Great Exhibition held inside the Crystal Palace. As 160 countries and regions show off their technological and cultural achievements at the six-month Osaka Expo, AFP looks at what it's all about: Expanding on national expositions in Paris at the dawn of the Industrial Revolution, Imperial Britain built an immense glass Crystal Palace to host 14,000 exhibitors from 40 countries. That marked the start of the Expo phenomenon that over the decades introduced the world to ketchup, the telephone and X-ray machines among myriad other technologies. The Paris edition of 1889 featured the Eiffel Tower — intended as a temporary attraction — and Pablo Picasso's anti-war painting 'Guernica' was first shown at one in 1937. Historically, World's Fairs did not just exhibit new technologies but also included racist displays of actual people from the colonies of the time. While World Expos still showcase future technologies, some argue that the advent of the Internet, mass media and cheaper foreign travel have made them redundant. Global turmoil in the form of conflicts and trade wars has also led critics to question the idealistic values of unity and development touted at the events. But organizers of Expo 2025 in Osaka have stressed that in-person exchanges between nations and the resulting 'unexpected encounters' are still important. Middle school teacher Yusuke Nagasawa said attending was a 'valuable learning experience, to be able to actually experience the realism and warmth of the people, which cannot be conveyed through a screen.' 'I've seen the excitement, and people from various countries have approached me for chats,' added Nagasawa, who plans to bring about 140 pupils to the Expo next month. Among the dizzying number of displays this year are a meteorite from Mars, a beating 'heart' grown from stem cells, and the world's largest wooden architectural structure. Since 1928, the Paris-based International Exhibitions Bureau has run the Expos. More than 180 countries are members and the host city is chosen by a vote of its general assembly. This is Osaka's second World Expo after the 1970 edition — featuring a Moon rock — that was attended by 64 million people, a record until Shanghai in 2010. The United States once held frequent World's Fairs, as they are known there, leaving behind landmarks such as the Space Needle in Seattle and New York City's Unisphere. But the world's largest economy last hosted one in 1984, with some experts saying their popularity has been overtaken by the Olympic Games and attractions such as Disneyland. Buildings often take center stage at World Expos and this year is no exception, with each country dressed to impress. The Chinese pavilion's design evokes a calligraphy scroll, while the Portuguese one created by Japanese architect Kengo Kuma features ropes that 'evoke the movement of the ocean.' 'Expos have always acted, and continue to act, as places of architectural experimentation,' said Isaac Lopez Cesar from Spain's University of A Coruna. They offer a forum 'where new architectural forms, new materials, new designs and structural typologies, and, in general, new technological advances applied to architecture are tested,' he told AFP. Themes of sustainability run through the Expo, including at the bauble-like Swiss pavilion, which aims to have the smallest ecological footprint. But World Expos have been criticized for their temporary nature, and after October Osaka's man-made island will be cleared to make way for a casino resort. According to Japanese media, only 12.5 percent of the wooden 'Grand Ring' — a vast structure that encircles most of the national pavilions — will be reused.
