A wax figure of Cristiano Ronaldo is displayed at CR7 Museum in Funchal, Madeira island on April 29, 2016. Portuguese football star Cristiano Ronaldo's talent was first revealed in the CF Andorinha, a little club of his native island of Madeira, where pictures of this gifted kid, who became inspiration for the younger generation, are today displayed everywhere. PATRICIA DE MELO MOREIRA / AFP.
LISBON(AFP).- Cristiano Ronaldo's museum on Madeira has upsized to a larger home in anticipation of the Real Madrid star winning "future trophies", his cousin told AFP on Monday.
The Portugal striker's self-financed shrine now occupies a prime seafront position in Funchal, the island's capital where "CR7" was born in 1985.
The museum's new two-storey site "will be able to welcome Ronaldo's future trophies," his cousin and museum director Nuno Viveiros said.
The treasure trove charting the success of Madeira's most famous son draws in 200,000 visitors a year.
It boasts two waxworks of the former Manchester United forward whilst a 3.4-metre-high (11 feet) bronze statue he unveiled of himself in December 2014 has been moved to greet visitors at the entrance.
In January the statue was the target of graffiti when it was tagged with the name and shirt number of arch-rival Lionel Messi, hours after the Barcelona superstar saw off Ronaldo to claim a fifth world player of the year award.
Among the 160 trophies on display are Ronaldo's three Ballons d'Or.
But one glaring omission is any honour relating to his time on international duty.
The 31-year-old, who won a third Champions League title last month, will be hoping to redress that anomaly at Euro 2016 with Portugal opening their Group F campaign against Iceland on June 14.
Irrespective of Ronaldo's success or not at the European Championships his cousin is confident he will soon be taking delivery of fresh silverware.
"After the Euro Ronaldo will be starting a new season with Real," when he can win more trophies, Viveiros predicted.
Stuck for summer reading ideas? Why not find inspiration from Walter Benjamin? Since he was a student, the German philosopher and culture critic wrote down and numbered every book he read in a journal. The small black notebook catalogues Benjamin’s reading from the age of 22 in 1917 until 1939, shortly before he left Paris fleeing from the Nazis. It begins with number 462—earlier entries are lost—and ends with number 1712, Robert Hichens’ Le Toque noire. Putting to shame the more leisurely reader, Benjamin was averaging more than one book a week.
The notebook is on show this month at Berlin’s Galerie Max Hetzler as part of Irrkunst, an exhibition on the ceramicist Edmund de Waal, the author of The Hare with Amber Eyes. Irrkunst is De Waal's first exhibition in Berlin, which, he says, is a city he feels he knows "through the writings of Walter Benjamin". Building upon this influence, De Waal collaborated with the Walter Benjamin Archive to exhibit the philosopher’s original manuscripts alongside his own works in the show. (The gallery in west Berlin looks out onto Benjamin’s former school.)
Walter Benjamin in the 1920s.
“What you have here is an archive of Benjamin’s knowledge. You’re reading the story of his own education,” says Ursula Marx, a researcher at the archive. Generally, Benjamin noted only the author and title of the books in his list, but he sometimes included where and when he read a book, whether he read it only in part, and on some rare occasions included his opinion, describing some works as “schund” (trash), or “albern” (silly).
Proust and Baudelaire feature heavily, as do the stars of Russian literature (Dostoyevsky, Chekhov, Gogol) and German philosophy (Nietzsche, Heidegger, Marx). But Benjamin’s love of mystery novels is one of the more unexpected revelations—he was planning to write his own crime novel with the playwright Bertholt Brecht. Three Agatha Christies are listed, two books by Arthur Conan Doyle as is The Red House Mystery, the only crime novel written by A.A. Milne, the author of Winnie-the-Pooh.
• Edmund de Waal: Irrkunst, Max Hetzler, Berlin, until 16 July
Inside the main house on Heneage Street, a former brewery, soon to become The Gilbert & George Centre
Gilbert & George are planning to convert an East End house into a non-profit gallery and foundation for contemporary art. The artists have lived and worked in Spitalfields since 1969 and often draw inspiration for their work from the local multi-faith community. They rescued their current house and studio on Fournier Street from dereliction and painstakingly restored it to its 18th-century origins themselves.
The site for the proposed gallery, called The Gilbert & George Centre, is a house on nearby Heneage Street, which previously belonged to the late artist Polly Hope. As part of the refurbishments, Gilbert & George propose to rebuild the 1970s workshop as a gallery and create a new basement.
According to the planning statement, the art foundation would “operate purely for the public benefit” with the aim of “promoting the education of the public in the arts”. The gallery would “benefit both the local community as well as the wider community, attracting visitors from other locations”.
Because the centre is a non-profit foundation, the number of exhibitions are limited to two a year. It would be open to visitors by appointment, with typical opening hours from 10am to 5pm, free of charge. Gilbert & George are expecting 200 visitors a week to the gallery and will create two full-time positions. Unlike their own collection, which mainly consists of 19th-century furniture and decorative arts by designers including Augustus Pugin, George Bullock and Christopher Dresser, the gallery will show contemporary art.
The architects Sir Solutions have prepared the planning statement for Gilbert & George and Tower Hamlets Council is expected to make a decision on 5 July. Neighbours are currently being consulted; according to the planning report, Anne Butler, the landlady of the Pride of Spitalfields pub next door, is “supportive of the overall proposed scheme” and thinks the plans will “enrich the area”. The artists were not available for comment.
PARIS.- Entitled “The Intimate World of Josef Sudek”, this exhibition is the first of this scale to revisit the life and work of Josef Sudek (Kolin, 1896 – Prague, 1976) within its sociogeographical and historical context: Prague during the first half of the twentieth century, at a time when the Czech capital was a veritable hub of artistic activity.
The exhibition features a selection of 130 works spanning the totality of Sudek’s career, from 1920 to 1976, and allows the public to examine the extent to which his photography was a reflection of his personal relationship to the surrounding world. On display are works that are the result of Sudek’s photographic experiments carried out within the privacy of his own studio, images of the garden seen from his window, and photographs of adventures further afield. The artist enjoyed meandering through the streets of Prague and its surrounding suburbs, and made frequent excursions to the nearby countryside.
Sudek’s enduring fascination with light, and its absence, is at the root of some of the most haunting photographs of the twentieth century. Nature, architecture, streets and objects are magnified by his sensitivity and mastery of the effects of light, contrasting with the impenetrable cloak of darkness.
As a photographer, Sudek was particularly concerned with the quality of the photographic print, an essential component in terms of the expressive potential of an image. His mastery of the pigment printing process enabled him to produce highly atmospheric and evocative images, thereby reaping all of the reflective and descriptive power of the gelatin silver print.
The exhibition presents work from Sudek’s early career, but also features photographs from a pivotal period of experimentation and innovation, beginning in the 1940s. Focusing on the technical and formal aspects of the medium of photography, Sudek created pigment prints, halftone prints, puridlos (photographs between two windows) and veteše (photographs inserted into old frames), techniques which allowed him to transform the objectal quality of photography.
The loss of his right arm during the First World War and the difficulties he now encountered in transporting his view camera did not dampen his passion for photography.
Sudek’s studio window became an object of abiding fascination—rather like the surface of a canvas—reflecting moments of exquisite tenderness and hope when a flowering branch brushed against its pane, or of poignant melancholy when he observed the world beyond his window transformed by the playful infinity of mist. His room with a view allowed him to capture, on film, his love of Prague. His photographs demonstrate both a precision and a depth of feeling, fitting odes to the rich history and architectural complexity of the Czech capital.
Like many artists of his generation marked by their experience of war, Sudek expresses a particularly acute awareness of the dark and tormented aspects of human existence—feelings that would inspire some of his most melancholy and most moving pictures. A photograph taken at night, through the glass pane of his window, shows a city plunged into darkness during the Occupation of the Second World War, and communicates a sentiment of unspeakable despair—a dramatic illustration of Sudek’s technical ability to transcend the literal.
The first part of the exhibition features images that herald the photographer’s later work, showing his early landscapes, portraits of fellow patients at Invalidovna, the Prague hospice for war invalids like Sudek, his hesitant foray into modernism, and his interior shots of St. Vitus Cathedral.
Through images that recount the narrative of his life, the viewer gains access to Sudek’s inner world, and an insight into his immediate environment, the views and objects he loved, his studio and garden. His endless walks in Prague found expression in the views of the city and its surroundings, as well as in photographs of its more sordid “suburbs”, a subject explored by other Prague artists. The eastern and northern areas of Bohemia, the Beskid Mountains and the Mionší forest were other destinations close to the photographer’s heart.
The exhibition "The Intimate World of Josef Sudek" provides a fascinating panorama of the work of this unique artist.
Curators: Vladimír Birgus (director of the Institute of Creative Photography, Silesian University, Opava), Ian Jeffrey (art historian) and Ann Thomas (curator of photography, The Canadian Photography Institute of the National Gallery of Canada, Ottawa).