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Charity refuses money raised at Michael Stone art exhibition

A charity has refused money raised at an art show for loyalist killer Michael Stone.

tone, on his release from prison, attended an art exhibition in east Belfast last month that featured his own work and that of his wife Karen whom he married in prison two years ago .

The exhibition features more than 20 paintings primarily focused on Loyalist themes. The Milestones exhibit was organized as part of the East Belfast Reach UK Community Project, which was set up by former members of the paramilitary group Red Hand Commando.

Organizers said 33% of proceeds raised from the event would go to the Muscular Dystrophy UK charity, with the remainder going to Stone and his family.

However, when the charity learned how the money was raised, it decided to refuse the funds.

In a statement, a spokesperson said: “We were not aware that Mr Stone had exhibited any work at the Milestones exhibition. We understand the sensitivities in Northern Ireland about an exhibition including his paintings.

“After careful consideration, we will decline the money raised at the event.”

Former UDA man Michael Stone rose to prominence for his bloody pistol and bomb attack on Milltown Cemetery in March 1988, when he attacked the funerals of three IRA members , firing and throwing grenades into the crowd.

Three people died in the attack, with Stone admitting to three more murders after being arrested.

He was released in 2000 under the Good Friday Agreement, but was jailed again in 2006 after attempting to kill Gerry Adams and Martin McGuinness in Stormont, and is currently serving the remainder of the minimum jail sentence of 20 years that was inflicted on him in 1988.

As his release date approaches, he’s eligible for a 24-hour unsupervised daytime outing every four weeks in advance.

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Lots to unwrap in this Johnny Depp Rolling Stone track

Rolling stone magazine sent journalist Stephen Rodrick to England to spend three days at Johnny Depp’s lavish estate. His resulting article portrays a tragic and bizarre image of the once beloved movie star who is now deep in addiction, debt and lawsuits.

“So, are you here to hear the truth?” Depp asks as Russell brings him a glass of vintage red wine. “It’s full of betrayal.”

The article profiles what happens when Hollywood’s most famous bad boy grows up: he becomes a bad man. Depp has already been canceled due to his allegations of abuse of his ex-wife Amber Heard, and this in-depth interview portrays Depp as a tragic character unable to take responsibility for his current situation. After years of playing the characters of Tim Burton, Depp now lives fully as one. But how did he get here? The answer won’t surprise you: pride and toxic masculinity.

It doesn’t take a psychiatrist to figure out that Depp was greatly influenced by Brando and Thompson, two father figures who don’t care what the world thinks of them.

During the interview, Depp speaks philosophically about his two mentors, Marlon Brando and Hunter S. Thompson. Depp admires them for their rebellious and anti-authority attitudes, and talks about intoxicating drug adventures with Thompson. It’s all fun and playful when you’re a rising young star (I mean, whose 20s wasn’t a hot mess?) But the same anti-establishment ethics don’t age well, especially when it comes out of your mouth. ‘a multimillionaire. You can’t “Damn the Man” with one hand while simultaneously buying 14 mansions and taking private jets everywhere.

The purchases listed by TMG read as if Depp had given his wallet to an interpolated with ADD. There was $ 75 million for 14 residences. He spent $ 3 million to shoot the ashes of his friend Hunter S. Thompson into the sky from a cannon. Only $ 7,000 to buy a sofa for her daughter on the set of Keeping Up With the Kardashians. He bought some 70 guitars and 200 works of art, including Basquiats and Warhols, owned 45 luxury vehicles and spent $ 200,000 a month on private air travel.

Depp is involved in multiple lawsuits against agents and managers over the mismanagement of his enormous fortune. Once estimated at around $ 650 million, Depp is now cash poor and heavily in debt. So what happened? How to lose half a billion dollars? According to Depp’s former chief executives and financial advisers, you are losing it by spending $ 2 million a month on living expenses and blasting your fortune on absurd items (see Thompson’s ash cannon above). Depp and his loyalists claim the funds were mismanaged and stolen, which may or may not be true. At the same time, Depp admits that he fully trusts everyone in his life and is not interested in his own finances, simply signing any documents that have been submitted to him. Depp’s complete abdication of fiscal responsibility is downright shocking to a man in his 50s who has now weathered several financial crises.

When asked what he thinks of all the legal shenanigans, Depp shrugs. “I’m just a small part of it,” he says. “It’s the fucking Matrix. I haven’t seen the movie and I haven’t understood the script, but here’s what it is.

This quote sums up Depp entirely: completely lacking in knowledge (or interest in pursuing it) while assuming he knows what he’s talking about. He presents himself as a frustrated man-child who refuses to take responsibility for his actions and thinks he’s sort of forward thinking because he flaunts his drug use and IDGAF attitude. It’s not a good look at 55, my brother. Put your house (s) in order.

Over a few tuna, fish and corn sandwiches – Depp’s favorite – he talks about the financial mess Betty Sue’s Lexington farm had become.

Tuna and corn? Raw. Like everything else about this self-expanding jag weed. Pick yourself up Johnny Depp, we certainly did.

(Going through Rolling stone, image: John Phillips / Getty Images)

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Stone art

Klip Kuns Stone Art: A Revival of Afro-Indigenous Cubism in Istanbul

Gamze Alpar is an unrivaled curator and dynamic hostess, as she warmly invites art connoisseurs and the most curious of Istanbul wanderers for tea and conversation surrounded by examples of the priceless tangible heritage of Zimbabwe, where she has traveled. for the first time last April. and shortly thereafter for three months in the summer. She followed in the footsteps of an old friend in Kenya to collect Shona stone art with her partner Murad Geyimci before returning to Istanbul for the September opening of her gallery, Klip Kuns.

Last year, Gamze Alpar visited Zimbabwe for the first time and became a collector of Shona art before opening Klip Kuns in Istanbul.

In Old Harare, she discovered that there are around six hundred Shona artists in Africa who remain dedicated to the craft that continues to place African sculpture among the latest trends in contemporary world art long after revolutionizing painting from the 20th century. The works of Picasso and his French contemporary Georges Braque speak of one of the most dramatic transformations in the history of art, that of the development of cubist painting from African sculpture.

In Afrikaans, Klip Kuns simply means “art of stone”. It signifies an indigenous African craft tradition with singular contemporary relevance to the world of visual arts, especially from the origins of Modernist painting, and ultimately from time immemorial. African visual art is sometimes still typically stereotyped in primitivism, as composed of ceremonial masks and West African sculptures. Shona art, however, has been hailed in the international press and in the world’s most prestigious museums as the perfect embodiment of indigenous modernism, as its artists continue to shatter all the clichés, labels and conventions known to exist. interpose between European thought and the understanding of contemporary African culture.

The earliest European appreciation of African art within the modernist core is largely attributed to the writings of the German Jewish anarchist and critic Carl Einstein, whose most important work “Negerplastik” is about sculpture and directly influenced painters. avant-garde of the interwar period. At the time of its publication in 1915, Zimbabwe was Southern Rhodesia, effectively ruled by the colonial British mining industry which subdued several Shona rebellions. Afrikaans was then a minority language and its presence would soon disappear from the ground in 1980 with the independence of Zimbabwe, where the current ethnic majority language, Shona, was the most widely spoken after English.

In remembrance of Zimbabwe’s colonial era, when Shona art gained international audiences as a distinct and world-class aesthetic discipline, keeping the Afrikaans name of Klip Kuns pays homage to the social history of the movement. of contemporary sculpture that emerged from the landlocked south. African country of present-day Zimbabwe, whose name literally translates to “Stone House”. In the years leading up to independence, Zimbabwean artists found a space abroad to freely meet in the world of international art exhibitions.

Joram Mariga, the father of Zimbabwean sculpture is pictured at Klip Kuns above his exquisite pieces, all by living artists who follow his legacy on the gallery floor. He was among the first modern Shona artists to exhibit abroad, notably in 1963 at the Royal Festival Hall in London, under the wing of the English museologist Frank McEwan who founded what is today the National Gallery of Zimbabwe. For the next 16 years before Zimbabwe became an independent nation and despite Western sanctions against the openly racist Rhodesian government, Shona art has been staged at the world’s finest art institutions, from MoMA in New York to the Museum. Rodin in Paris and beyond.


Taurai Chimba is unique among the new generation of Shona artists, as it has gained international fame thanks in part to the special efforts of Klip Kuns.

In 1969, American fashion designer Mary Josephine McFadden married McEwan in Rhodesia when Vukutu was established, an artist community for Shona sculptors called Workshop School. Although the marriage lasted for a year, performers from her sculptural farmhouse now honor the pantheon of Shona performers. They are now celebrated at Klip Kuns. The portraits of Nicholas Mukomberanwa, Henry Munyaradzi and Joseph Ndandarika recall the inspired ingenuity that arose out of Vukutu, providing art historians and aesthetes around the world with a clear and expansive view of a history of African independence through the production of fine arts.

Alpar displays the core values ​​of Shona sculpture with multi-faceted sophistication on his gallery in a flowing open-door exhibition style incorporating textual and photographic elements to embellish hundreds of ingenious sculptures from around 50 artists. She has personally met most of the artists in her gallery whose works she organizes for niche art markets in Istanbul and around the world. Taurai Chimba, for example, is a rare name in international spotlight among new Shona artists. Two of his soapstones at Klip Kuns depict mythical and playful characters that recall the Inuit aesthetic of the native Arctic, but with a very unique and authentic formalism that leaves aficionados wondering how cubism and Shona art differ at all.

On any day, Alpar receives visitors and clients from across the globalized social spectrum at Klip Kuns, such as American ironworker and ceramic artist Castro, who talks about the history of art and creative independence. with rare ease, also demonstrated by his special talent. When asked if he is inspired by Shona art, he quickly replies in the negative. For him, appreciation of the arts and creative work are worlds apart. He confidently affirms the pure and individualistic originality of his profession while evoking the debt of famous painters to the African sculptors who inspired Cubism.

Where an instantly recognizable nude sketch of Picasso gazes out from a ledge on one of the gallery’s many walls adorned with Shona sculptures, Castro shared lucid reflections on African art and artistic integrity as Alpar delved into it. the conversation with exciting bursts of insight from his unrivaled experience as the only Turkish curator wholly dedicated to Shona art. She reflects comfortably on everything from her days in Zimbabwe to a recent loan from the Klip Kuns gallery for the shooting of a new film by Serra Yılmaz and Ferzan Özpetek.

Shona artists carve butter jade, serpentine, spring stone, black and white opal, verdite and soapstone to evoke vast ranges of emotions from the mineral surface. As is traditional in the indigenous philosophy of Shona art, the stones are believed to take a sculptural form by the will of the ancestral spirits. Artists refrain from making premeditated sketches and using sophisticated tools beyond simple pickaxes and cutters so as not to interfere with the creative source.

Wildlife and villagers are among the recurring topics that fit the transgender definition of neorealistic naturalism, such as the ribbed rhino by Yardaro R. Mudenda. And there are abstract and expressionist pieces closer to Cubist affinities, as in the monolithic portraits of Second Mappfumo and Nhamo Iasi exhibited at Klip Kuns alongside pieces innovated in the same way with titles like “Matrix”, “Spiral Face” , “Wise” and “The Storm God”. Other works, such as “Eagle” and “Love” demonstrate a syncretic aesthetic that blends equally sophisticated techniques behind traditional forms and contemporary stylizations.

Klip Kuns is the only gallery in Turkey, and potentially the world, to focus solely on Shona art. Its aesthetic philosophy contrasts with special significance next to traditional Turkish art, as there is no comparable stone carving tradition in Turkey given the historic Islamic prohibition against carved images. Alpar is wide-eyed and ambitious. She is already planning winter adventures in Zimbabwe to strengthen her ties with the local craft community while setting her sights on Toronto, Dubai, Paris and elsewhere to expand the creative space for contemporary Shona art to continue to flourish with. distinction all over the world.


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Global stone painting craze thrills Waiheke

Palmy Rocks led to the creation of groups similar to Feilding, Dannevirke and Waiheke.

Murray Wilson / Fairfax New Zealand.

Palmy Rocks led to the creation of groups similar to Feilding, Dannevirke and Waiheke.

Auckland’s Waiheke Island has become a treasure hunting ground as a new craze takes the community by storm.

Waiheke Rocks is a family-friendly activity that encourages people to get creative, go out and have fun with others.

The craze, which began as a tribute from an Oregon mother and father to the deaths of their two young daughters in 2014, has slowly swept the world and reached Waiheke.

Finley Miles, 3, Tui Miller, 3, and Emilie Bell, 4, found special treasures in a Waiheke playground.

Shani williams

Finley Miles, 3, Tui Miller, 3, and Emilie Bell, 4, found special treasures in a Waiheke playground.

The idea is to paint a stone, add a layer of varnish to protect it from the elements, then take it to a park or playground to hide it.

READ MORE:
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When someone finds the stone, they photograph it, re-hide it and then post a post on the group’s Facebook page so the artist can follow their travels.

One hundred members joined Waiheke Rocks in one week.

Shani williams

One hundred members joined Waiheke Rocks in one week.

Rocks are labeled to relate to the group that made them.

For example, the #WaihekeRocks label directs Internet users to the Waiheke Rocks Facebook page.

A week ago, Karyn McDonald, a teacher at the Waiheke Island Playcentre and mother, started the Facebook group, Waiheke Rocks, after hearing about children in Palmerston North playing the game.

“It seemed like they liked it, so we decided to launch it on Waiheke, in conjunction with Playcentre Awareness Week”

Several Waiheke rocks have traveled off the island – taken to Wellington, Queenstown and Australia, McDonald said.

She was amazed at the response – over 100 people joined the group in a week.

“Every day I get two to three new requests. It’s really gaining momentum,” she said.

McDonald’s said the activity is for all ages.

“Many older people find cave painting relaxing and therapeutic, while younger people enjoy the treasure hunt.”

With 6000 members, Palmy Rocks is the biggest rock band in New Zealand.

Companies including Gloria Jeans and McDonalds have gotten involved with Palmy Rocks and there are Hidden Rocks that offer free goodies, like coffee or a kid’s meal.

The only rules are that private property and sacred areas are prohibited and that one must be respectful when placing the stones near the paths, so that the gardens are not damaged.


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The beauty of investing in stone art in Kenya

Using stone art to give buildings an aesthetic finish is an ancient craft that is experiencing a renaissance in Kenya.

The Greeks, Indians, Chinese and Africans have ancient stone art that dates back centuries. In fact, some of the largest and most enduring works of art in the world involved the use of stones, for example Egyptian tombs and pyramids and the Great Wall of China.

Six years ago, Stone Arts Gallery decided to take a leap of faith and move to Kenya, with the owner starting at a friend’s house before moving to a studio in Kasarani, Nairobi. The company chose the country because the use of stone finishes was underdeveloped.

It turned out to be a smart investment.

The company has showrooms in Parklands and at the Galleria Mall in Nairobi, where it showcases a wide range of products, from flooring to sculptures.

His sculpture “Dancing Man” (pictured), for example, took about four weeks to complete and costs Sh 290,000.

Sanket Tandon, head of marketing and business development at Stone Arts, said finishing stone constructions was spreading rapidly, even outside of Nairobi.

The company has since spread outside Kenya to Rwanda, where it recently managed a construction project called Kigali Heights. It also supplies various kinds of stones, including sandstone, limestone, slate and marble, to India (where the company has been in existence for 18 years), France, Dubai and the Democratic Republic of the Congo.

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Mr. Tandon said that one of the most popular stone finishes today is cladding, which is used on the walls.

“The price of the cladding varies from 2,400 to 7,200 Sh per square meter, depending on the desired finish and the customer’s tastes.

Decorative stone flooring, which is also widely used for its aesthetic appeal and durability compared to normal flooring, cost between 3,000 and 6,000 shillings per square meter.

Other products supplied by the company include columns, door frames, portal pillars, lintels and window sills, chimneys, lighting fixtures and materials for the restoration of dilapidated buildings.

There are also different types of finishes available for stone products. For example, granite products have up to six different finishes, including bush hammered (which has a textured feel) or leather, depending on the customer’s preference.

So where does Stone Arts get its stone from?

Tandon said the company imports a lot of what it uses because it costs less than shopping locally.

“The prices here are very expensive and prohibitive for business,” he said.

He added that the secret to the company’s success lies in referrals from satisfied customers. Stone Arts also works with professionals in the construction industry, including architects, designers and contractors, to boost its business.

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Graveyard killer Michael Stone painting raffled for Twaddell loyalist camp

A painting of cult killer Michael Stone is raffled to fund the Twaddell Avenue Loyalist protest camp in north Belfast.

Details of the loyalist fundraiser emerged during the weekly Woodvale protests on Saturday – where a high-ranking Orangeman vowed to protest ‘high-end’ against the decision to ban the Order from marching on Crumlin Road past the Ardoyne stores in North Belfast.

Pop art was on display as Grand County Secretary William Mawhinney said protests should be “civil disobedience”.

He said: “When the time comes, we will probably increase our protests, increase them to civil disobedience if that’s the right thing to do.”

The senior Orangeman addressed a crowd of around 500 as a number of people sold tickets to Stone’s art raffle to the multiple murderers.

Painted by the Milltown Cemetery Killer in Maghaberry Prison, the red, white, blue and gold piece is said to represent the ongoing dispute over the North Belfast Parades.

Against a black background, the work shows two women wearing sunglasses looking at a Union flag.

In their sunglasses is a reflection of two musicians playing the flute.

A ticket seller told Sunday Life: “The hair of the women represents the people, the flag represents Twaddell and underneath is the road that we are trying to go up. “

She added that all the money raised for the raffle would go to fund the Orange Order and the PUP-supported camp.

But Sunday Life can reveal that key figures in the camp were unaware yesterday that the UDA killer art was being drawn.

The embarrassing oversight will raise questions as to how he was exposed during yesterday’s protest.

Among those in attendance at yesterday’s weekly protest were Social Development Minister Nelson McCausland and North Belfast MP Nigel Dodds.

Asked about the stone painting, Mr Dodds said: “I haven’t seen it so I can’t comment.”

Stone was sentenced to nearly 700 years in prison for six murders, three of which were committed in a gun and grenade attack on an IRA funeral at Belfast’s Milltown Cemetery in 1988.

Outrage was expressed in 2001 after it emerged that Stone, who had learned to paint in prison, was selling his work for thousands of pounds.

In 2006, one of his paintings, titled Kneeling Nude on a Red Background, was auctioned for £ 10,000.

In August, the 58-year-old learned he would have to serve the remainder of a 30-year minimum sentence for six sectarian murders committed in the 1980s.

The former UDA man was released under the Good Friday deal in 2000, but was returned to prison in 2006 for attempting to kill Gerry Adams and Martin McGuinness in a failed attack in Stormont.


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