Stay updated with breaking news from Artworks. Get real-time updates on events, politics, business, and more. Visit us for reliable news and exclusive interviews.
head into the provence mountains in france, where set in an old quarry, you'll discover the carrieres des lumieres. currently, you can enjoy exhibitions on tintin and van gogh. this spanish museum in madrid throws the "do not touch" signs out of the window. the whole concept is that visitors explore everything using just their hands. also, there's a strong emphasis on art made by blind people. finally, in tokyo, you can walk through water and become one with the flowers. visitors are invited to immerse their entire bodies in the vast artworks which change under the presence of people, blurring the perception of boundaries between the self and the works. still to come on the travel show... taking transparency to a whole new level. and should they stay or should they go? the discussion around these continues. so don't go away.
KUALA LUMPUR: It is time for PAS president Tan Sri Abdul Hadi Awang to drop the same old, stagnant narrative and look to things that hold more value, says the Prime Minister.
pictures earlier in the day. it is so distinctive. , . so distinctive. absolutely, so much work has gone _ so distinctive. absolutely, so much work has gone into _ so distinctive. absolutely, so much work has gone into it _ so distinctive. absolutely, so much work has gone into it over- so distinctive. absolutely, so much work has gone into it over the - so distinctive. absolutely, so much work has gone into it over the past| work has gone into it over the past year. i decided to create these stags, they are powerful mystical creatures found all over the world with many positive connotations so it was a great image to capture, a great brand of animal to use that is recognisable and we love the outcome of the artworks. it recognisable and we love the outcome of the artworks-— of the artworks. it goes beyond the imaies of the artworks. it goes beyond the ima i es we of the artworks. it goes beyond the images we are _ of the artworks. it goes beyond the images we are seeing _ of the artworks. it goes beyond the images we are seeing on _ of the artworks. it goes beyond the images we are seeing on the - of the artworks. it goes beyond the i images we are seeing on the screens because you write you back stories to all of this, were you surprised just how much this has taken off? i mean, definitely when we started the uroject _ mean, definitely when we started the uroject we _ mean, definitely when we started the project we would never have just assumed — project we would never have just assumed success but we have worked really _ assumed success but we have worked really hard _ assumed success but we have worked really hard to get there and i think what _ really hard to get there and i think what we _ really hard to get there and i think what we have created is quite unique so while _ what we have created is quite unique so while it_ what we have created is quite unique so while it was extremely exciting to sell— so while it was extremely exciting to sell those artworks, it was also something — to sell those artworks, it was also something we worked towards, so we
so distinctive, isn't it? absolutely, so much work has gone into it over the past year. we decided to create these stags, powerful mythical creatures found all around the world with many positive connotations, so it is a great image to capture, it is a great image to capture, it is a great brand of animal to use that is recognisable and we really like the outcome of the artwork.— recognisable and we really like the outcome of the artwork. jameel, let me brina outcome of the artwork. jameel, let me bring you _ outcome of the artwork. jameel, let me bring you in- _ outcome of the artwork. jameel, let me bring you in. you _ outcome of the artwork. jameel, let me bring you in. you write - outcome of the artwork. jameel, let me bring you in. you write the - outcome of the artwork. jameel, let me bring you in. you write the back| me bring you in. you write the back stories to all of this. were you surprised just how much this has taken off? i surprised just how much this has taken off? . , taken off? i mean, definitely when we started the _ taken off? i mean, definitely when we started the project _ taken off? i mean, definitely when we started the project we - taken off? i mean, definitely when we started the project we would i we started the project we would never _ we started the project we would never have assumed success, but we had worked _ never have assumed success, but we had worked really hard to get there and i— had worked really hard to get there and i think— had worked really hard to get there and i think what we have created is quite _ and i think what we have created is quite unique so while it was extremely exciting to sell those artworks, — extremely exciting to sell those artworks, it was also something we
worked _ artworks, it was also something we worked towards so we were extremely happy, _ worked towards so we were extremely happy, yes _ worked towards so we were extremely ha - , es. , ., worked towards so we were extremely ha-- , es. , ., worked towards so we were extremely hau, es. ,., , happy, yes. nfts for those people who don't know, _ happy, yes. nfts for those people who don't know, they _ happy, yes. nfts for those people who don't know, they are - happy, yes. nfts for those people who don't know, they are unique l who don't know, they are unique pieces. you are buying one individual piece, people can make copies, but you are buying the original, that is right, isn't it? essentially you are buying a token that verifies ownership. it is extremely interesting because that kind of— extremely interesting because that kind of phenomenon was not possible before _ kind of phenomenon was not possible before nfts and that is why people think nfts are extremely revolutionary. now instead of selling — revolutionary. now instead of selling photos that people can copy, someone _ selling photos that people can copy, someone can verify that they own that artwork and that also makes their_ that artwork and that also makes their digital collectible and people of collecting things. so it is an exciting — of collecting things. so it is an exciting sphere to be in. actually, tell me why _ exciting sphere to be in. actually, tell me why you — exciting sphere to be in. actually, tell me why you were _ exciting sphere to be in. actually, tell me why you were drawn - exciting sphere to be in. actually, tell me why you were drawn to . exciting sphere to be in. actually, | tell me why you were drawn to that whole space around nfts. i tell me why you were drawn to that whole space around nfts.- tell me why you were drawn to that whole space around nfts. i have been a tech, creative _ whole space around nfts. i have been
and so, i think there's a way in which one's making those kinds of films. but i think there's also the space for other types of work, which are sort of, in a way, films which are sort of... ..i would say, have a longevity to them in terms of the intervention they want to make as artworks, as well. so, you mentioned that film, young soul rebels, in 1991, and the fact you won an award at the cannes international film festival for that. and your long life partner, the british curator mark nash, described it as... "an exciting cultural moment. there was a sense that a lot of things could open up in the film world, but they did not," he said. why do you think that is? because your profile is not as high as some people might expect it to be in the uk, where, you know, you were born and bred. well, i mean, ithink it's a really interesting question, because, of course... i mean, my work has been shown all over the world. i've taught all over the world. but, also, i think there's a way in which in britain,
to them in terms of the intervention they want to make as artworks, as well. so, you mentioned that film, young soul rebels, in 1991, and the fact you won an award at the cannes international film festival for that. and your long life partner, the british curator mark nash, described it as "an exciting cultural moment. there was a sense that a lot of things could open up in the film world, but they did not," he said. why do you think that is? because your profile is not as high as some people might expect it to be in the uk, where, you know, you were born and bred. well, i mean, ithink it's a really interesting question, because, of course... i mean, my work has been shown all over the world. i've taught all over the world. but, also, i think there's a way in which in britain, you know, there's a certain sort of narrative in film, you know, which has been, in a way, propagated. and it's an industry
but i think there's also the space for other types of work, which are sort of, in a way, films which are sort of... ..i would say, have a longevity to them in terms of the intervention they want to make as artworks, as well. so, you mentioned that film, young soul rebels, in 1991, and the fact you won an award at the cannes international film festival for that. and your long life partner, the british curator mark nash, described it as... "an exciting cultural moment. there was a sense that a lot of things could open up in the film world, but they did not," he said. why do you think that is? because your profile is not as high as some people might expect it to be in the uk, where, you know, you were born and bred. well, i mean, ithink it's a really interesting question, because, of course...