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First Nations artist Archie Moore unveils Australia Pavilion presentation

Archie Moore transforms the Australia Pavilion with a vast hand-drawn genealogical chart, his First Nations connections span more than 2,400 generations and 65,000 years. kith and kin confronts the ongoing legacies of Australia’s colonial history, with a focus on the overincarceration of First Nations peoples. Central to the presentation is a First Nations Australian understanding of time, in which past, present and future coexist. kith and kin represents the expansiveness of First Nations Australian history, whilst speaking to the universality of the human family.

kith and kin; an enveloping artwork created in situ by First Nations artist Archie Moore, premieres at the Australia Pavilion at the 60th International Art Exhibition – La Biennale di Venezia. Commissioned by Creative Australia, the exhibition is curated by Ellie Buttrose and is on view from 20 April – 24 November 2024.  
 
In kith and kin, Moore transforms the Australia Pavilion with an expansive, genealogical chart spanning 65,000+ years. Drawing on his Kamilaroi, Bigambul, British and Scottish heritage, the installation embodies Moore’s enduring exploration of history and identity, central themes in his artistic practice spanning over 30 years. His work brings international awareness to the vitality of First Nations kinship, in spite of facing systemic injustices since British invasion in 1770. kith and kin provides audiences with the first significant opportunity to experience a solo exhibition of Moore’s art outside of Australia.  
 
Hand-drawn in white chalk, the genealogical chart unfolds across the Pavilion’s five-metre-high black walls that run 60 meters in length, illustrating Moore’s lineage stretching back more than 2,400 generations. Derived from the artist’s research with family, community and archivists, this intricate map of relations reflects the unique familial structures of First Nations Australians that includes all living things and affirms their status as some of the longest-continuous living cultures in the world. Extending across the Pavilion’s black ceiling, the inscribed names resemble a celestial map; evoking the ancestors’ resting place. In the First Nations Australian understanding of time; the past, present and future are co-present. By placing tens of thousands of years of kin on a single continuum, Moore makes this notion visible to audiences. 
 
The chart is also a stark representation of the decline in First Nations Australian languages and dialects under colonisation. Over 254 years the numbers have plummeted from as many as 700 to around 160, due to prohibitions on First language use, land dispossession and the killing of kin in colonial warfare. Countering this, Moore enacts language maintenance through his use of Gamilaraay (the Kamilaroi nation’s language) and Bigambul kinship terms. kith and kin illustrates the shift from Indigenous to European languages, the translation of oral languages to written text, and the introduction of racial categories and slurs. Moments of erasure amidst the names represent the atrocities inflicted upon First Nations communities, such as massacres, the introduction of diseases and destruction of knowledge that have all produced intergenerational trauma. In response, Moore’s choice of educational materials — fragile chalk on blackboard — addresses the insufficient dissemination of First Nations histories. 

The Australia Pavilion at the Biennale Arte 2024 is commissioned by Creative Australia, 20 April – 24 November 2024, creative.gov.au
 
Photo credits: Archie Moore, kith and kin, 2024, Australia Pavilion at Venice Biennale 2024. Photographer: Andrea Rossetti. © The artist. Image courtesy of the artist and The Commercial.
 

A reflective pool, at the centre of the Pavilion, evokes the atmosphere of a memorial and pays tribute to the injustices still faced by First Nations peoples today. Suspended above it are more than 500 document stacks containing mainly coronial inquests on the deaths of Indigenous Australians in police custody dated in our lifetime. Despite First Nations Australians being just 3.8% of Australia’s population, they account for 33% of its prison population, making them among the most incarcerated people globally. Surrounded by the limitless family tree, viewers are reminded that the reports do not represent nameless statistics; rather, they are children, siblings, cousins, parents, uncles, aunts, grandparents and great-grandparents. 
 
Moore’s artwork bridges the personal and the political. Amid the contemporary coroners’ reports are historic documents with specific references to the artist’s family. These include a court conviction from when Moore’s great uncle accidentally killed his father during a fight over their paltry wages; and reports by the Protector of Aboriginals denying Moore’s grandparents access to rights that non-Indigenous citizens enjoyed — such as freedom of movement. These bureaucratic papers evidence how pernicious laws and government policies have long been imposed upon First Nations peoples, emphasising the connection between the current incarceration epidemic and historic injustices. While many of the stories in kith and kin are specific to the artist’s family, they mirror narratives throughout the world. Through this lens Moore highlights our shared ancestry and humanity: through the interconnectedness of people, place and time. 
 
Bringing together leading artists, curators, and writers on Thursday 18 April at Fondazione Querini Stampalia, ‘In discussion with kith and kin’ is a series of panel discussions that invite audiences to engage in greater depth with the themes that underpin Moore’s Australia Pavilion; First Nations language maintenance and art’s role in abolition movements. These conversations are presented by Creative Australia in partnership with ArtReview and Fondazione Querini Stampalia and feature: kith and kin artist Archie Moore and curator Ellie Buttrose; First Nations Australian writers Daniel Browning, Djon Mundine OAM, and Lorena Allam; curators of the Hãhãwpuá (Brazilian) Pavilion, Arissana Pataxó, Denilson Baniwa, and Gustavo Caboco Wapichana; artist Hank Willis Thomas; heather ahtone, Director of Curatorial Affairs, First Americans Museum; and Türkiye Pavilion artist Gülsün Karamustafa. 

The Australia Pavilion at the Biennale Arte 2024 is commissioned by Creative Australia, 20 April – 24 November 2024, creative.gov.au
 
Photo credits: Archie Moore, kith and kin, 2024, Australia Pavilion at Venice Biennale 2024. Photographer: Andrea Rossetti. © The artist. Image courtesy of the artist and The Commercial.

Ellie Buttrose said: “The names of thousands upon thousands of Archie’s Kamilaroi and Bigambul forebears engulf the Australia Pavilion, declaring the artist’s sovereignty and that of his people. kith and kin reaches so far back into time that it includes the common ancestors of every human and all living entities — a timely reminder that we all have kinship responsibilities to one another. The simultaneity of past, present and future underpins the First Nations Australian understanding of time. By placing 65,000+ years of family on a single continuum, kith and kin immerses audiences in the co-presence of the ancestors and co-existence of time — by doing so Archie generously enfolds each of us into the everywhen.” 
 
Creative Australia Executive Director First Nations Arts and Culture Franchesca Cubillo said: 
“Archie Moore’s exhibition at the Australia Pavilion showcases the depth and resilience of First Nations arts and continuing culture. kith and kin offers profound insights into the interconnectedness of all peoples, underpinned by the rich tapestry of First Nations Australian culture. It is vital that these stories and the act of First Nations truth-telling can take place at such an important global platform. In this spirit, alongside the exhibition, there will be a program of talks expanding upon Archie Moore’s exhibition held in partnership with ArtReview at Fondazione Querini Stampalia. We hope these vital conversations led by First Nations Australian voices and internationally significant curators and artists increase global awareness and foster action for the issues facing First Nations Australians.”  
 
Following the exhibition in the Australia Pavilion, the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) plans to present kith and kin as part of its 2025-26 program. 
 
The kith and kin exhibition has been developed by the artist and curator with exhibition design consultant Kevin O’Brien and exhibition digital designer Sebastian Adams. 
        
The kith and kin publication features entries by the artist, sharing childhood memories of family, and acclaimed writer Melissa Lucashenko; along with new essays by distinguished curator and writer Djon Mundine OAM; Professor, legal expert, and writer Larissa Behrendt OA; Professor Macarena Gómez-Barris; and kith and kin curator Ellie Buttrose. The book includes a roundtable discussion with the artist, curator, Dhangatti and Gumbayngirr speaker and Indigenous language expert Doctor Raymond Kelly, linguistics Professor Felicity Meakins, anthropologist Emeritus Professor Diane Bell and Bundjalung editor Grace Lucas-Pennington. The graphic design work is by Stuart Geddes and Žiga Testen and it is edited by Archie Moore, Ellie Buttrose and Grace Lucas-Pennington. 
 
The kith and kin website hosts videos discussing the exhibition and Moore’s wider practice that feature the artist, curator; curator and writer Djon Mundine OAM; Creative Australia Executive Director, First Nations Arts and Culture, Franchesca Cubillo; Professor, broadcaster, and writer, Larissa Behrendt AO; Director of the Guggenheim Abu Dhabi Project, Stephanie Rosenthal; and Senior Curator of Aboriginal and Torres Strait Islander Art at the National Gallery of Australia, Tina Baum. It also includes educational activities responding to the artwork conceived by Emma Hicks and Merindah Funnell and features Gamiliaraay translations by Donna Mclaren. The graphic design work is by Stuart Geddes and Žiga Testen with Jake Bonin.

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The movie “Dancing Village: The Curse Begins” will be released on April 26. Watch the Official Trailer

Dancing Village: The Curse Begins is an Indonesian movie directed by Kimo Stamboel starring Maudy Effrosina, Aulia Sarah and Jourdy Pranata.

Dancing Village: The Curse Begins

It will be released on April 26th in the United States.

Plot

The story revolves around a mystical bracelet called the Kawaturih and a remote village on the eastern tip of Java Island, Indonesia. A young woman named Mila is entrusted with returning the bracelet to this village, known as the Dancing Village. Upon arrival, things get strange as the village elder is deceased and the new guardian is missing. Mysterious events unfold, and Mila is entangled with a mythical being named Badarawuhi who seems to rule the village. Ignoring warnings, Mila disrupts the village’s safety, leading to a terrifying ritual to choose the “Dawuh,” a cursed soul bound to dance eternally.

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Proof of Stake Perfected: Staking Strategies on Ethereum 2.0

Ethereum 2.0, the much-anticipated upgrade to the Ethereum network, is set to revolutionize the blockchain landscape with its shift from the energy-intensive Proof of Work (PoW) consensus mechanism to the more environmentally friendly Proof of Stake (PoS). In this article, we’ll delve deep into the world of staking on Ethereum 2.0 and explore effective strategies to maximize your returns while minimizing risks. Additionally, if you want to know more about investments and firms, you may visit the ethereumcode.app.

Understanding Ethereum 2.0Transition from Ethereum 1.0

Ethereum 2.0 represents a fundamental upgrade from the original Ethereum 1.0 network. The primary goal is to enhance scalability, security, and sustainability while reducing energy consumption. Ethereum 2.0 introduces a phased transition, with the PoS beacon chain as its cornerstone.

Key Features and Benefits

Ethereum 2.0 offers several compelling features, including sharding, which allows parallel processing of transactions, and a PoS mechanism that eliminates the need for energy-intensive mining. This upgrade promises faster transaction processing, lower fees, and increased network security.

Role of Validators

Validators are the backbone of Ethereum 2.0’s PoS system. They propose and validate blocks, securing the network and maintaining its integrity. To participate in staking, users need to become validators by staking a certain amount of cryptocurrency as collateral.

Staking BasicsWhat is Staking?

Staking is the process of locking up a specific amount of cryptocurrency as collateral to support the network’s operations. In return, validators earn rewards for their contributions.

Staking Tokens

Validators must stake a specific amount of cryptocurrency as collateral, which varies depending on network rules. In Ethereum 2.0, the native cryptocurrency, ETH, is staked to become a validator.

Rewards and Penalties

Validators are incentivized with rewards for validating transactions and creating new blocks. However, there are penalties for malicious behavior or downtime, ensuring the security and efficiency of the network.

Selecting the Right Hardware and SoftwareHardware Requirements

To become an Ethereum 2.0 validator, you need reliable hardware with sufficient computing power and a stable internet connection. Investing in high-quality hardware is crucial for uninterrupted validation.

Software Options

Various software clients, such as Prysm, Nimbus, and Lighthouse, are available for Ethereum 2.0 staking. Selecting the right client and configuring it properly is essential for successful staking.

Security Considerations

Security is paramount in staking. Safeguarding your private keys and ensuring the security of your validator setup is critical to protect your staked assets from potential threats.

Staking StrategiesLong-term vs. Short-term Staking

Stakers can choose between long-term and short-term strategies. Long-term stakers commit their assets for extended periods, while short-term stakers remain more flexible. Each approach has its advantages and drawbacks.

Pool Staking vs. Solo Staking

Pool staking involves collaborating with other validators to pool resources, increasing the chances of receiving rewards. Solo staking allows greater control but carries higher risks. Diversifying between both can help balance risk and reward.

Diversification of Staked Assets

Reducing risk through diversification involves staking assets across multiple validators or networks. This strategy minimizes the impact of potential slashing penalties on your overall staked assets.

Maximizing ReturnsUnderstanding Staking Rewards

Staking rewards on Ethereum 2.0 are determined by factors like the total amount staked, network participation, and the chosen staking strategy. Understanding these dynamics is essential for optimizing returns.

Strategies for Optimization

Maximizing returns involves staying informed about network upgrades, participating actively as a validator, and employing effective monitoring tools. Regularly compounding rewards can also boost your staking gains over time.

Risks and ChallengesSecurity Risks

Staking involves securing a significant amount of cryptocurrency, making validators potential targets for attacks. It is crucial to implement robust security measures to protect your assets.

Network Upgrades and Rule Changes

Ethereum 2.0 is a dynamic network, subject to rule changes and upgrades. Validators must stay informed about these changes to adapt their strategies accordingly.

Legal and Tax Considerations

Staking may have legal and tax implications depending on your jurisdiction. Consult with experts and comply with local regulations to avoid any potential legal issues.

Conclusion

In conclusion, Ethereum 2.0’s transition to Proof of Stake has opened up exciting opportunities for users to participate in securing and validating the network. By understanding the basics of staking, selecting the right hardware and software, and implementing effective staking strategies, you can maximize your returns while navigating potential risks. As Ethereum 2.0 continues to evolve, responsible staking practices will play a vital role in its long-term success and sustainability.

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The Stunning Spiral: Hubble Captures the Intricate Beauty of Galaxy IC 4633, Hidden Within a Sea of Dust

The subject of this image taken with the NASA/ESA Hubble Space Telescope is the spiral galaxy IC 4633, located 100 million light-years away from us in the constellation Apus. IC 4633 is a galaxy rich in star-forming activity and also hosts an active galactic nucleus at its core. From our point of view, the galaxy is tilted mostly towards us, giving astronomers a fairly good view of its billions of stars.

However, we can’t fully appreciate the features of this galaxy — at least in visible light — because it’s partially concealed by a stretch of dark dust (lower-right third of the image). This dark nebula is part of the Chamaeleon star-forming region, itself located only around 500 light-years from us, in a nearby part of our Milky Way galaxy. The dark clouds in the Chamaeleon region occupy a large area of the southern sky, covering their namesake constellation but also encroaching on nearby constellations, like Apus. The cloud is well-studied for its treasury of young stars, particularly the cloud Cha I, which both Hubble and the NASA/ESA/CSA James Webb Space Telescope have imaged.

The cloud overlapping IC 4633 lies east of the well-known Cha I, II, and III, and is also known as MW9 and the South Celestial Serpent. Classified as an integrated flux nebula (IFN) — a cloud of gas and dust in the Milky Way galaxy that’s not near to any single star and is only faintly lit by the total light of all the galaxy’s stars — this vast, narrow trail of faint gas that snakes over the southern celestial pole is much more subdued looking than its neighbors. Hubble has no problem making out.

Source: NASA

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Joker: Folie à Deux will be released on October 4 in theaters. Watch the trailer

Joker: Folie à Deux is an upcoming psychological thriller musical scheduled to hit theaters on October 4, 2024. It stars Joaquin Phoenix and Lady Gaga. With Brendan Gleeson, Catherine Keener, Zazie Beetz, and Steve Coogan.

It is directed by Todd Phillips.

It’s a sequel to the 2019 film “Joker”: Directed by Todd Phillips and starring Joaquin Phoenix in his Oscar-winning role as Arthur Fleck, who descends into madness and becomes the iconic villain, Joker.

Joker: Folie à Deux

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The movie “Young Woman and the Sea” will be released on May 31 in theaters

Young Woman and the Sea is a film produced by Disney that tells a story of great challenges and adventures. You will be able to see it from May 31, only in theaters.

Plot

It tells the story of Gertrude Ederle, a competitive swimmer who became the first woman to ever swim across the English Channel in 1926.

Cast & Crew

Actress and actors: Daisy Ridley portrays Gertrude Ederle, alongside Tilda Cobham-Hervey, Stephen Graham, Kim Bodnia, Christopher Eccleston, and Glenn Fleshler in supporting roles.

Director:  Joachim Rønning

Screenplay: Jeff Nathanson, based on the book “Young Woman and the Sea” by Glenn Stout

Production: Walt Disney Pictures and Jerry Bruckheimer Films

Young Woman and the Sea

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Experience a Post-Apocalyptic World at The Heckscher Museum of Art’s Exhibition: George Grosz: The Stick Men

NEW YORK—A major exhibition by internationally renowned German-born artist George Grosz will be on view at The Heckscher Museum of Art in Huntington, New York, from May 11 through September 1, 2024. George Grosz: The Stick Men presents a post-apocalyptic world envisioned by the artist after World War II. The exhibition is accompanied by a fully illustrated catalogue.

George Grosz, The Enemy of the Rainbow, 1946, watercolor and India ink on paper. Collection Judin, Berlin.

Featuring 33 watercolors, oils, and drawings, the exhibition is the first dedicated to the Stick Men series since it debuted in New York City at the Associated American Artists galleries in 1948. Seventy-five years later, Grosz’s warning against fascism and global conflict is as relevant as ever.
 
George Grosz (1893–1959) created the Stick Men series in Huntington, New York, where he lived from 1947 until shortly before his death. Grosz remained invested in political art following his immigration to the United States in 1933. In the Stick Men series, he reaffirms how art reflects and impacts society. 
 
George Grosz: The Stick Men was organized by Das kleine Grosz Museum in Berlin, which is dedicated to the career of this important artist. Featuring works from The Heckscher Museum and European public and private collections, the Berlin exhibition was extended due to its popularity.

At The Heckscher Museum, an expanded exhibition will include additional works from its own collection, including Grosz’s masterpiece Eclipse of the Sun (1926). It will also feature loans from The Whitney Museum of American Art, Addison Gallery of American Art, Frances Lehman Loeb Art Center at Vassar College, and Harvard Art Museums, among others.
 
Grosz’s images depict hollow figures which offer a searing indictment of humanity following World War II, the Holocaust, and the dropping of atomic bombs on Hiroshima and Nagasaki. Stick Men is the term that defines Grosz’s drawing of a man made only of bones. He used the figure to represent the universal victim of war, “sometimes camp prisoner, forced laborer, sufferer from starvation and war refugee,” notes Pay Matthis Karstens and Juerg Judin in the exhibition catalogue.
 
It was in response to the harrowing atrocities of World War II that Grosz created the Stick Men, his last major series of works. He lived in the United States beginning in  1933, became an American citizen in 1938, and moved to Huntington, NY, in 1947. The Stick Men series represent dehumanized and starved beings wandering aimlessly through a polluted, post-apocalyptic world. In search of food and shelter, these victims of adverse circumstances in turn become perpetrators themselves.
 
Writings of the period portrayed Grosz as living a suburban and apolitical life in America, in contrast to his earlier fierce political art created in Germany. The opposite is true: the Stick Men series culminates his lifelong political and artistic struggles. The series strengthens his artistic-political legacy, which could not be more topical considering current world crises.
 
Heather Arnet, Executive Director and CEO, The Heckscher Museum, observes: “In Stick Men, Grosz presents the viewer with the realities of the two successive world wars and the indelible impacts that would be felt by the people long after flags were waved and victors announced.”
 
George Grosz: The Stick Men was co-curated by Karli Wurzelbacher, Ph.D., Chief Curator, The Heckscher Museum of Art, and Pay Matthis Karstens, Ph.D., Curator, and Alice Delage, Ph.D., Co-Curator, Das kleine Grosz Museum, Berlin, Germany.
 
Exhibition Catalogue
Accompanying the George Grosz: The Stick Men exhibition is an illustrated 152-page hardcover book in German and English. The publication includes essays by Pay Matthis Karstens and Juerg Judin at Das kleine Grosz Museum (“George Grosz’s Stick Men”), and Karli Wurzelbacher, Chief Curator at The Heckscher Museum of Art (“Demons in the Suburbs: George Grosz on Long Island”). The book can be ordered at Heckscher.org/GroszCatalog.
 
George Grosz: The Stick Men is supported by Pien and Hans Bosch, and Andrea B. and Peter D. Klein.

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vaultboy Shines Bright with New Single “you’re mymoon” Leading the Way to Debut Album and Global Tour

April 12, 2024 – New York, NY – vaultboy is charging ahead towards his debut album, everything and nothing, with the release of his latest single, “you’re my moon.” This midtempo ballad, adorned with piano keys and pop synths, explores the concept of unwavering love amid life’s fluctuations. Set against a backdrop of heartfelt melodies, “you’re my moon” encapsulates the essence of finding a love that remains constant through every twist and turn. vaultboy’s debut album, “everything and nothing,” is slated for release on May 10, followed by the launch of his global tour on May 14. TICKETS/INFO HERE.

Reflecting on the essence of the song, vaultboy shares, “This song is about that person that’s always there for you. Whether you’re the happiest you’ve ever been, or going through darker times, they’re the person that’s always there to love you through it. Especially when most of the people in your life come and go.” With its poignant exploration of enduring love amidst life’s uncertainties, vaultboy hopes that “you’re my moon” resonates with listeners as a testament to the strength of true companionship. He adds, “I hope people enjoy this darker love song, and use it as a good excuse to tell their partner they love them.”

(everything and nothing album cover)

everything and nothing  tracklist:

take the hit

closer (feat. salem ilese)

where tf have you been?

you’re my moon

everything is getting better

hello, goodbye

everything hits me at once

everything is falling apart again

everything, everywhere (feat. eaJ)

petals

this is heaven, this is hell

everything is nothing 

“where tf have you been?” follows his recent string of releases including“everything, everywhere” feat. eaJ, “everything hits me at once” and “way after forever”. vaultboy is gearing up to kick off his upcoming multi-city European tour in May. The trek will make stops in London (May 14), and Paris (May 25), before wrapping in Warsaw (June 1).

vaultboy and salem ilese have reunited following their 2023 single, “don’t shop when ur hungry!!” taken from salem’s sophomore album High Concept. This track is a continuation of their sonic journey. On “closer,” they showcase their vulnerability and songwriting prowess, collaborating with the songwriting-producer duo Colin & Alex. As frequent collaborators of vaultboy’s, the duo actively participated in a joint creative process, with vaultboy making noteworthy contributions to the track’s production.

vaultboy has been steadily releasing new music the last several months and it’s proving to resonate with fans as he actively has nearly 3.9 million monthly listeners on Spotify. He’s also seen spikes across social media with hundreds of thousands of new followers on TikTok (1.75M total) and Instagram (440K total). 

vaultboy is gearing up to kick off his upcoming multi-city global tour in May. The trek will make stops in Europe, starting in London (May 14), before starting the Australian run in Sydney (June 6), and starting the Asian leg in Tokyo, Japan (June 11). TICKETS/INFO HERE

UK/EUROPEAN 2024 TOUR DATES: Tue. May 14 – London, UK – The GraceTue. May 21 – Cologne, NRW – Blue ShellWed. May 22 – Berlin, Germany – LarkFri. May 24 – Amsterdam, Netherlands – Upstairs at ParadisoSat. May 25 – Paris, France – Les ÉtoilesSun. May 26 – Antwerp, Flanders – Kavka ZappaTue. May 28 – Zürich, Switzerland – Dynamo Werk 21Wed. May 29 – Milan, Italy – BikoFri. May 31 – Vienna, Austria – Flex CafeSat. June 1 – Warsaw, Poland – Hydrozagadka 

AUSTRALIA/ASIA 2024 TOUR DATES: Thurs. June 6 – Sydney, Australia – Oxford Art Factory Sat. June 8 – Northcote, Australia – Northcote Social Club Sun. June 9 – Brisbane, Australia – The BrightsideTue. June 11 – Tokyo, Japan – Duo Music ExchangeThurs. June 13 – Manilla Philippines – Podium HallFri. June 14 – Singapore – Foo Chow Building Auditorium

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Sleeping Dogs (2024) A Russell Crowe Detective Thriller Filled with Murders, Mysteries, and the Intricacies of the Mind and Memories

Sleeping Dogs is a thriller directed by Adam Cooper starring Russell Crowe. With Karen Gillian, Marton Csokas, and Tommy Flanagan. It is based on the novel by E.O. Chirovici.

“Sleeping Dogs” does not present as an original thriller or a film we haven’t seen before. Rather, it’s a movie that plays it safe, focusing on adhering to the classic guidelines of a psychological murder thriller: offering a touch of titillation for the viewer and most importantly, intriguing them through the progressive unraveling of the mystery via plot twists. It attempts on both fronts and succeeds, albeit without much creativity, thus undermining the effectiveness of those twists.

The premise seems promising, albeit reminiscent of a mashup between Memento and Final Analysis, but ultimately fails to replicate either of them.

Sleeping DogsThe Plot

A detective who has undergone experimental Alzheimer’s treatment is tasked with reviewing a murder case he was previously involved with. This leads him to investigate the murder of a university professor specialized in studying the mind and memories, and a mysterious woman who worked alongside the professor.

About the Movie

Fans of Russell Crowe will find his performance satisfactory, despite him not being in peak physical form. Nevertheless, he remains a solid actor who, with minimal effort, can craft a character that could have been more complex if not for the script’s simplicity. Often, he merely delivers his lines and lets his character be carried by the sequence of events and plot, embodying the quintessential attribute of a good actor: adapting to films that prioritize plot twists over character development.

Karen Gillian, a remarkable actress, faces the challenge of shining in a film where the script does little to support her. Despite carrying the weight of the story’s mystery, her performance is overshadowed as the dialogue fails to allow her character to shine. Despite the enigma surrounding her character, it remains without any intrigue beyond what her lines provide.

Regarding the direction: it’s uneven in a film that unfolds slowly, accelerates, and indulges in excessive flashbacks, at times aiming to be a psychological mystery, at others a conventional murder thriller. It fails to decide, trying to please both the genre and viewer expectations without fully achieving either.

Our Opinion

“Sleeping Dogs” gradually disappoints as the efforts to twist the plot fall flat one after another, and by the time we near the end, nothing left in this film with a great atmosphere and performances can surprise us. Due to its predictable script, the movie ends up being quite lightweight and underwhelming.

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Exploring the Intersection of Nature, Technology, and Humanity: Tetsumi Kudo’s First Solo Exhibition in Greater China – Hauser & Wirth Hong Kong

In a wide-ranging practice spanning four decades, post-war Japanese artist Tetsumi Kudo (1935 –1990) explored the human experience, interrogating the proliferation of mass consumption and the rise of technology. His oeuvre addresses themes of colonialism, racism, social cohesion, and environmental degradation through biomorphic sculptures and assemblages incorporating found materials. Kudo’s first solo exhibition in Greater China, opening 31 May, features a selection of the artist’s signature cages made between 1966 and 1980. The worlds created inside these varied environments are intended to encourage viewers to understand themselves as part of an integrated and intricate cosmos in which nature, technology, and humanity influence each other, a system he dubbed the New Ecology. 

Tetsumi Kudo
Paradise
1980
Cage, electronic circuit, plastic flower, plastic, metal coins, resin
78 x 36 x 20.3 cm / 30 3/4 x 14 1/8 x 8 in
© Hiroko Kudo, the Estate of Tetsumi Kudo / Artists Rights Society (ARS), NY /
ADAGP Paris 2024
Courtesy Hiroko Kudo, the Estate of Tetsumi Kudo and Hauser & Wirth

HAUSER & WIRTH  

15-16/F, H Queen’s 

80 Queen’s Road Central, Hong Kong 

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