Cannes Film Festival: Stars Gather for amfAR Gala at the Hôtel du Cap-Eden-Roc, Cap d'Antibes, France

Heidi Klum and husband Tom Kaulitz talking to journalists on the red (blue) carpet at the amfAR Gala in Cannes. Cover picture of Lais Ribeiro and all photographs by Elli Ioannou for DAM in France.

On a warm, summery evening high up in the hills above the French Riviera, the amfAR gala was getting underway at the historic Hôtel du Cap-Eden-Roc. Held on the last night of the Cannes Film Festival, stars of the screen, stage and runway, gathered for the event and succeeded in raising more than $17 million, writes Isabella Lancellotti. Photography by Elli Ioannou in France 

Queen Latifah hosts the amfAR Gala

in Cannes.

The award-winning American rapper, actress and singer Queen Latifah, was the charismatic host of the amfAR Gala that included a dramatic live auction, fashion show, and performances by Gladys Knight, Adam Lambert, Bebe Rexha, and Halsey. 

A constellation of stars dressed in black tie attended the event from Leonardo DiCaprio, Eva Longoria, James Marsden, and Rebel Wilson to Heidi Klum, Kate Beckinsale and Orlando Bloom. 

The fashion, to rival the Met Gala, ran the gamut from completely sheer gowns with cutouts showing muscled abs to long, gossamer-fine couture capes over fluid, diaphanous column dresses,

Auctioning for a Cause

The enthusiasm of the guests was on full display as they actively participated in the live auction led by auctioneer, Simon de Pury. Bidding on one-of-a-kind luxury items and contemporary art, the auction  showcased the commitment to supporting amfAR's mission. 

The excitement reached new heights as Eva Longoria and James Marsden joined forces with de Pury to sell the exclusive Launch Edition DB12 Aston Martin, fetching a staggering 1.5 million euros. Another remarkable moment came with the sale of a breathtaking Damien Hirst portrait of Leonardo DiCaprio, adorned with signatures from both the artist and the acclaimed actor, which was acquired for an impressive 1.2 million euros.

Fashion as a Force for Good

A highlight of the gala was the Icons Collection fashion show, curated by supporter of amfAR, Carine Roitfeld. Introduced by Ashley Graham and designer Jeremy Scott, the show featured ensembles from fashion houses around the world. On the runway there were designs by Tom Ford, Moschino, Versace, Dior, Balmain, Chanel, Prada, Givenchy, Armani, YSL, Louis Vuitton, and many more. The models, including Natasha Poly, Helena Christensen, Caroline Trentini, and Alessandra Ambrosio, took to the catwalk wearing exquisite Chopard jewels. 

Adam Lambert performed at the gala,

including his hit songs.

Unforgettable Performances

While the auction garnered excitement, the night's musical performances electrified the audience. The  queen of soul, Gladys Knight, arrived on stage to sing her classics, "The Best Thing That Ever Happened to Me" and "Midnight Train to Georgia." 

Adam Lambert, renowned for his stage presence, kept the energy soaring with heartfelt renditions of "Ordinary World" and a beautiful tribute to the late Tina Turner through "Who Wants to Live Forever." Bebe Rexha took the stage, delivering a sensational set that included her chart-topping hits "In the Name of Love" and "I'm Good (Blue)." 

A Night to Remember

As the evening drew to a close, Queen Latifah returned to the stage to introduce the final act, Halsey. The talented singer-songwriter delivered a captivating performance,  with renditions of her hit songs, including "Graveyard," "Bad at Love," "You Should Be Sad," and "Without Me." In raising over $17 million for amfAR's HIV/AIDS research programs, the amfAR Gala Cannes showed the effectiveness of philanthropy, and collaboration. 

Scroll down to see the fashion highlights on the red carpet at the amfAR Gala in Cannes

Actor Rebel Wilson wears an emerald-green Oscar de la Renta dress, at the amfAR Cannes Gala, Hotel du Cap-Eden-Roc, Cap d'Antibes, France.

Model Cindy Bruna in a sleek, black sequined gown by David Koma, at the amfAR Cannes Gala, Hotel du Cap-Eden-Roc, Cap d'Antibes, France.

Bebe Rexha wears a dramatic Faraz Manan gown, at the amfAR Cannes Gala, Hotel du Cap-Eden-Roc, Cap d'Antibes, France.

Italian tennis player Matteo Berrettini in a stylish, double-breasted Boss suit at the amfAR Cannes Gala, Hotel du Cap-Eden-Roc, Cap d'Antibes, France.

Belgian model Rose Bertram wearing a minimal Monot outfit, at the amfAR Cannes Gala, Hotel du Cap-Eden-Roc, Cap d'Antibes, France.

Model Helena Christensen in a shell pink Dior haute couture gown at the amfAR Cannes Gala, Hotel du Cap-Eden-Roc, Cap d'Antibes, France.

Fashion iconoclast Daphne Guiness in a striking black ensemble at the amfAR Cannes Gala, Hotel du Cap-Eden-Roc, Cap d'Antibes, France.

Emma Thynn, Marchioness of Bath, wears a diaphanous Tony Ward couture embroidered gown, at the amfAR Cannes Gala at Hotel du Cap-Eden-Roc, Cap d'Antibes, France.

Model Coco Rocha wears a sculptural Gaurav Gupta haute couture gown at the amfAR Cannes Gala, Hotel du Cap-Eden-Roc, Cap d'Antibes, France.

Model Isabeli Fontana in theatrical Mugler outfit at the amfAR Cannes Gala, Hotel du Cap-Eden-Roc, Cap d'Antibes, France.

American model Lori Harvey in a brilliant red, cut-out LaQuan Smith gown, at the amfAR Cannes Gala, Hotel du Cap-Eden-Roc, Cap d'Antibes, France.

Singer and actor Teyana Taylor in a Monot concoction showing her chiseled abs, at the amfAR Cannes Gala, Hotel du Cap-Eden-Roc, Cap d'Antibes, France.

Model Alton Mason in a black tuxedo open to his waist, at the amfAR Cannes Gala, Hotel du Cap-Eden-Roc, Cap d'Antibes, France.

Model Bianca Balti in a vivid Dolce & Gabbana gown, at the amfAR Cannes Gala, Hotel du Cap-Eden-Roc, Cap d'Antibes, France.

Actor Eva Longoria in a transparent, figure-hugging gown by Ashi Studio, at the amfAR Cannes Gala, Hotel du Cap-Eden-Roc, Cap d'Antibes, France.

Portuguese model Sara Sampaio in a sea green Zuhair Murad dress, at the amfAR Cannes Gala, Hotel du Cap-Eden-Roc, Cap d'Antibes, France.

Czech model Petra Nemcova wears British couturier Jennifer Claire's bright red dress, at the amfAR Cannes Gala, Hotel du Cap-Eden-Roc, Cap d'Antibes, France.

Fashion designers Dean and Dan Caten in classic, elegant tuxedos, at the amfAR Cannes Gala, Hotel du Cap-Eden-Roc, Cap d'Antibes, France.

Originally from Capo Verde, model Leila Depina, wearing an outfit inspired by Naomi Cambell's 1998 barely-there outfit, at the amfAR Cannes Gala, Hotel du Cap-Eden-Roc, Cap d'Antibes, France.

Georgia Fowler wears a draped gown and Surrealist gold necklace by Schiaparelli, at the amfAR Cannes Gala, Hotel du Cap-Eden-Roc, Cap d'Antibes, France.

Alessandra Ambrosio and Matheus Mazzafera. at the amfAR Cannes Gala, Hotel du Cap-Eden-Roc, Cap d'Antibes, France.

American actor James Marsden, at the amfAR Cannes Gala, Hotel du Cap-Eden-Roc, Cap d'Antibes, France.

Elsa Hosk wearing her own brand Helsa, at the amfAR Cannes Gala, Hotel du Cap-Eden-Roc, Cap d'Antibes, France.

Heidi Klum and Tom Kaulitz, at the amfAR Cannes Gala, Hotel du Cap-Eden-Roc, Cap d'Antibes, France.

Venice Architecture Biennale

African Architects Challenge Venice Exhibition to Decolonise and Start New Conversations

Ghanian-born curator of the biennale Lesley Lokko. Jacobo Salvi/La Biennale di Venezia

By Tomà Berlanda, Professor of Architecture, University of Cape Town

Presented since 1979, the Venice Architecture Biennale (La Biennale di Venezia) is possibly the most influential architecture exhibition in the world. For the first time, this year’s edition is curated by an African architect, Lesley Lokko. She has ensured that a strong African presence is the central feature of the show. Indeed, the 2023 exhibition is part of an undeniable shift towards a more just representation in global architecture.

The biennale, a cultural institution established as early as 1895, is a manifestation of a world order established by European imperialism. It is an international platform for a network of powerful academic and professional groups, material producers, construction firms, developers and public authorities. They come together in Venice to show and discuss their work.

Visitors to the central exhibition, Force Majeure. Simone Padovani/Getty Images

The biennale relies heavily on private sponsors and numerous countries host their own pavilions in Venice. While an African curator has no influence over these pavilions, she has ample latitude to determine the shape of the main pavilion and its exhibitions, the Force Majeure and the Dangerous Liaisons sections.

As a professor of architecture with a scholarly focus on African cities and non-western architectural forms, I have been attending the preview week in Venice. I believe that the African presence at the event brings a much needed – and complicated – new perspective that needs to shape the future of the biennale.

Lesley Lokko and Demas Nwoko

In the very first room of this year’s show, at the entrance of the Corderie dell’Arsenale – a thin 300 metre long building where the Venetian navy produced its ropes for over seven centuries – a diffused blue light shines. It invites visitors to reflect on the notion of the blue hour, the time after sunset and before night. For Lokko the light marks a new era: “A moment between dream and awakening … a moment of hope.”

A Ghanaian-Scottish architect, educator and novelist, Lokko is the first woman of colour to curate the show. In her curatorial statement she highlights the “laboratory of the future”. Rather than a place for scientific experiments, the laboratory needs to be thought of more as a workshop. Here different practitioners can collaboratively test new forms of architecture. In the west, says Lokko, one continues to associate architects as the figures who build buildings. But they do much more, they build society, competency, knowledge, in a rapidly hybridising and interwoven world.

Demas Nwoko. Titi Ogufere/La Biennale di Venezia

Lokko subverts perspectives. She invites visitors to look at Africa not as a place where western models should be transferred to, but rather from which much can be learned.

The decision to award the Golden Lion for Lifetime Achievement to Demas Nwoko, a Nigerian architect and artist born in 1935, is significant to Lokko’s perspective.

His relatively few buildings are cited as “forerunners of the sustainable, resource-mindful, and culturally authentic forms of expression now sweeping across the African continent – and the globe”.

An example of this is the Dominican Institute and Chapel he completed in Ibadan, Nigeria in 1975. The motifs of a Christian building are reinterpreted through an African sense of place and ornamentation.

Lokko’s approach represents a radical shift in the way the biennale operates. It is an important contribution to the creation of genuine “contact zones”: places of productive exchange between people offering different views. This replaces the old arbitrary hierarchies with a reciprocal respect for diversity.

The tower above the altar of Nwoko’s chapel in Ibadan, Nigeria. Joseph Conteh/La Biennale di Venezia

This year’s event sparked a controversy over visas being denied to African architects. A good starting point for reciprocal respect would be to make it really possible for all to participate and attend, by breaking the barriers imposed by systemic inequalities and xenophobic immigration policies.

What’s on show

Of the 89, mostly young, participants invited to this year’s show, over half of are from Africa or the diaspora. They are carefully orchestrated in the show’s two main venues, the Giardini and the Arsenale, and six sections.

In the main pavilion, where the Force Majeure exhibition sets the scene, a towering installation by Nigerian visual artist Olalekan Jeyifous epitomises the imagery of the African future. His images are powerful spatial metaphors of the relationship between architecture, communities and environment. And the need to repair the damage done by former colonial powers.

Installation by Nigeria’s Olalekan Jeyifous. Matteo de Mayda/La Biennale di Venezia

In another room, the Oral Archive by Nairobi-based collective Cave Bureau celebrates the oral tradition of passing down knowledge across generations as a way to keep humans in community with the earth. On a multimedia screen three channels overlap. They display conversations with cave-dwelling communities, sequences from the Anthropocene museum, and drawings, maps and models done across vast geological sites.

The emphasis on two of Lokko’s overarching biennale themes – decolonisation and decarbonisation – can also be found also in the long, and at times uneven, sequence at the Arsenale. Here the Dangerous Liaisons section is interwoven with the curator’s special projects titled Food, Agriculture and Climate Change; Gender and Geography; Mnemonic; and Guests from the Future.

Work by Kenya’s Cave Bureau. Matteo de Mayda/La Biennale di Venezia

Here the synthetic landscapes of Nigerian-born film producer and director Michael Uwemedimo are presented. A physical ground made of clay and contaminated by global capitalism is transported from Port Harcourt in Nigeria to Venice. It is a departure point to imagine the future, displayed through AI-generated images on the ceiling.

Congolese artist and photographer Sammy Baloji expertly deconstructs the official narration of colonial occupation, suggesting a view of architecture and the human body as traces of social history. This is done by displaying an old colonial Belgian documentary poetically interwoven with film footage taken today.

What this all means

The 2023 Venice Architecture Biennale is an important and complicated edition, with a necessary message. One can only hope that the event will continue the process of decolonisation started by Lokko after years of absence of confrontation, comparison, and exchange between different positions.

A radical rethinking of the biennale, and of the (architectural) world in general, is long overdue. We need a different future. Enter the blue hour.

The biennale opens to the public on 20 May and is on until 26 November

Tomà Berlanda, Professor of Architecture, University of Cape Town

This article is republished from The Conversation under a Creative Commons license. 

In London Christie's is Holding a Special Fine and Decorative Art Sale from Three Private Collections

A detail of The Necklace by John William Waterhouse R.A (1848~1917). One of the highlights of the Christies sale, estimate GBP 150,000 to GBP 250,000. Cover picture: Figure with Red Dog and Book (1973) by Arthur Merric Boyd, estimate GBP 40,000 to GBP 60,000. Credit: Christie's Images Ltd 2023

Christie's London sale Three Private Collections: Belgravia, Berkshire and Guernsey, includes 300 lots with works from the 17th to 21st century and different genres, with estimates ranging from £300 to £250,000. Collectors and enthusiasts have the opportunity to own a piece of the past and admire the exceptional skill and artistry of some of the most celebrated craftsmen and artists of the time, reports Antonio Visconti

A view of the Belgravia Collection, with

a George II giltwood pier mirror,

circa 1740. Credit: Christie's Images Ltd 2023

The Belgravia section of the Christies London sale showcases a beautiful near pair of George II giltwood pier mirrors circa 1740, in the manner of William Kent (see at left). Estimated at £50,000-80,000 they are a testament to the unrivaled skills of English furniture makers. 

The display, created by Robert Kime, also includes 19th-century furniture, highlighting the Gothic Revival, Aesthetic movement, and Arts and Crafts styles. 

Featuring the works of some of the most renowned designers and craftsmen such as William and May Morris, Pugin, Crace, Godwin, and Liberty, the collection displays a captivating range of decorative art. 

Among these are an intricate 'Hammersmith' carpet designed by William Morris, woven by Morris & Co, circa 1890, estimated at £70,000-100,000. An early Victorian Gothic Revival burr-walnut, sycamore, holly, boxwood, amaranth, and marquetry octagonal center table by Crace & Co., circa 1855, after a design by A.W.N. Pugin, is estimated at £25,000-40,000.

However, the furniture is not the only treasure in the Belgravia collection. The Pre-Raphaelite paintings on display are a true delight. John William Waterhouse's masterpiece, The Necklace (see main picture above), is a highlight of the collection, estimated at £150,000-250,000. The works of Sir Samuel Luke Fildes, R.A. and Edward Reginald Frampton, among others, offer a glimpse into the Victorian era's artistic splendor.

Featuring the works of renowned designers such as William and May Morris, Pugin, Crace, Godwin, and Liberty, the collection displays a captivating range of decorative art 

An important William De Morgan

and William Morris framed

 tile panel (1876). 

Credit: Christie's Images Ltd  2023 

Also featured is an important William De Morgan framed tile panel circa 1876, designed by William Morris, estimated at £20,000-30,000 (see at right).

This artwork is an excellent example of the synergy between the Arts and Crafts movement and the Pre-Raphaelite style, both of which were prominent during the 19th century. The Belgravia collection shows both the grandeur of English furniture and the beauty of Pre-Raphaelite art. 

One of the highlights of the Berkshire part of the sale are three striking Japanese articulated dragons. The Myochin Nobumasa, dating back to the Edo Period (18th-19th Century) is more than 42½ inches or 108cm long. This rare piece, estimated at £120,000-180,000, shows the artistry and cultural richness of Japan.  

An early painting by Ben Nicholson, O.M., titled The Red Necklace, created between 1916 and 1919, is estimated at £100,000-150,000 (see below). This captivating piece exemplifies Nicholson's mastery of color and composition, capturing the essence of the era. 

There are also more contemporary works, such as the digital animation piece by Rob and Nick Carter. Titled Transforming Still Life Painting, this three-hour continuous loop animation, executed between 2009 and 2012, challenges the boundaries of artistic expression and blurs the lines between the physical and the digital realm. This artwork, in an artist's frame, is estimated to be worth £20,000-40,000. 

The works show the synergy between the Arts and Crafts movement and the Pre-Raphaelite style, both of which were prominent during the 19th century

The Red Necklace (1916~1919) by

Ben Nicholson O.M. 

Credit: Christie's Images Ltd 2023

There are two chandeliers by artist Stuart Haygarth, the first, titled Tide, is constructed from discarded plastic that washed up on the coast, while the second, named Drop, is made from repurposed single-use water bottles. 

These installations, estimated at £10,000-15,000 each, explicate the artist's dedication to transforming waste into objects of beauty.

Colorful textiles by Robert Kime, with exquisite craftsmanship, complement the setting, along with comfortable furniture upholstered in William Morris fabrics. 

Amid this ambiance are contemporary animal sculptures, including a striking Scops Owl by Geoffrey Dashwood. 

This sculpture, signed by the artist himself, adds a touch of whimsy to the collection and is estimated at £1,500-2,500

The Guernsey part of the sale includes a superb group of 31 paintings by George Chinnery. The works display the artist's talent as a portrait painter and show a fascinating view of quotidian life in 19th-century India and China, and the surrounding landscapes. One of the highlights of this collection is the lively Portrait of William Jardine, estimated to be worth £40,000-60,000. The painter masterfully captures the personality of his subject and brings to life the sitters in his portraits. 

The Guernsey collection includes a superb group of 31 paintings by George Chinnery. The works show a fascinating view of quotidian life in 19th-century India and China

 A Landscape in Macau with a Herdsman along

 a track by George Chinnery (174~1852).

Credit: Christie's Images Ltd 2023

An outstanding work is A landscape in Macau with a herdsman walking along a track, (estimate £30,000-50,000) which evokes Chinnery's skill as a landscape artist and transports us to the serene countryside of Macau (see at right.)

The collection also includes Chinese 'export' paintings and works of art inspired by the natural world in Asia. The exchange between East and West during this period, highlights the cultural intersections that shaped the artistic landscape.

Dutch 17th-century paintings by Jan Mijtens and Cornelis de Heem are displayed alongside sporting art, including works by John Wootton, Henry and William Barraud, and Charles Towne. 

These works also display the wide range of artistic styles and subjects during the period. There are also three exquisite paintings by the Victorian artist John Atkinson Grimshaw, with the evocative A lane near Chester, 1881 leading the way (estimated at £70,000-100,000).

The Guernsey collection also has Georgian furniture juxtaposed with contemporary paintings. Among the highlights is Legong Dancer, 1979 by Balinese painter Dullah (1919-1996) estimated at £5,000-7,000 which captures traditional dance. Works by Australian artists Arthur Merric Bloomfield Boyd (1920-1999) and Lawrence M. Daws bring an antipodean flair to the collection. Boyd's Figure with Red Dog and Book, 1973, (estimated at £40,000-60,000), showcases the artist's distinctive style and exploration of the human form. The collection demonstrates the diverse artistic expression spanning continents and centuries and mixing East and West with both the traditional and contemporary. 

Christies is holding the sale on 25th of May, 2023 in London at 8 King Street. St James's SW1Y 6QT United Kingdom. T: +44 (0)20 7839 9060.

Australian Fashion Week: Highlights of the Yousef Akbar Resort 2024 Show. Photography by Matthew Fisher for DAM in Sydney