Crystal Jade celebrates its Michelin nod
This year marks the 25th anniversary for Crystal Jade, a chain of Chinese restaurants founded in Singapore. It is doubly significant as Crystal Jade Golden
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This year marks the 25th anniversary for Crystal Jade, a chain of Chinese restaurants founded in Singapore. It is doubly significant as Crystal Jade Golden
AS J Consunji nears the completion of his series of paintings, a unifying theme finally emerges from the volatile imagery: It has developed into a collection of raw thoughts and moments bound by a sense of place. The series has become a confession of the contemporary struggles of a hot and humid city, befitting its title “Tropica.”
THE HISTORICALLY controversial Ilusorio house or bahay na pula (red house) in San Ildefonso town, Bulacan province, has been demolished.
TETSUYA Noda, considered by some as “the best printmaker in contemporary Japan,” unwittingly created in the 1960s the counterpart of today’s social-media sites like Facebook
CALL it timely coincidence. The indie crime drama “Ken and Kazu,” one of the highlights of the 2016 Eiga Sai, the annual Japanese film festival mounted by Japan Foundation Manila, brings to mind the spate of extrajudicial killings of suspected drug pushers that followed Philippine President Rodrigo Duterte’s declaration of war on drugs.
FROM the show’s title, “If I Could Paint,” down to the painterly idiom used, which is abstraction, questions are certain to be raised in the visitor’s mind: Is the title a lament for a talent that one does not possess? If one paints in abstraction, does it automatically imply that the artist is incapable of figuration, and therefore, does not know how to paint? Or: If one wanted to paint, why not be practical and just use canvas or paper?
NEIL Gaiman has the power to create living things—in fiction —and he is excellent at it. Between “The Sandman,” the iconic DC comic book series he created, and novels such as “Neverwhere,” “Stardust,” “American Gods,” “The Graveyard Book,” and “Coraline,” Gaiman has displayed an otherworldly capacity for creating lives—Morpheus, Richard Mayhew, Yvaine, Shadow Moon, Nobody and, well, Coraline.
ONE’S first glimpse of “Firebird” at Cultural Center of the Philippines (CCP) was way back in 1979 with a new version by Swiss choreographer Armin
LALIBELA, Ethiopia—Filipino Catholics who have resolved to visit the Holy Land at least once in their lifetime but are discouraged by the tinderbox situation in the Middle East may have found the next best option in this ancient mountain town in northern Ethiopia.
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