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I seek my path in situations that originate in feelings.
— Lee Kang So

On the 50-year anniversary of the happening that propelled Korean artist Lee Kang So to international renown at the 9th Paris Biennale in 1975, the work returns to the city for the first time since this presentation in an exhibition at Thaddaeus Ropac Paris Marais. The avant-garde performance, in which Lee Kang So casts a live chicken as artist, will be accompanied by works in hemp cloth executed the same year, as well as photographic, video and sculptural works that retrace his wider practice during the 1970s. Also on view will be a selection of paintings testifying to the development of Lee Kang So’s artmaking in the decades that followed this decisive period.

In the 1970s, through avant-garde performances and installations, Lee Kang So developed a highly experimental practice that profoundly shaped the evolution of Korean contemporary art. His international reputation was cemented at the 1975 Paris Biennale with his presentation at the Musée d’Art moderne de la Ville de Paris of Untitled-75031, a work co-authored by a borrowed chicken, who, tethered to a wooden feeder surrounded by powdered chalk, explored the area allowed by his tether leaving chalky footprints on the floor. In recognition of the work’s 50th anniversary, it will be executed again at the Paris Marais gallery, with the chicken making its chalky marks on 12 September 2025 during the opening of the exhibition. 

The final work, on view until the end of the exhibition, comprises these dusty concentric traces of the chicken’s presence without the animal itself. A leading figure in the Process Art movement emerging in Korea in the 1970s, Lee Kang So transcends his own artistic autonomy to express the immaterial – presence and absence, time and transience – an exploration also evidenced by the inclusion of historic photographs of Untitled-75031 in the exhibition, which accompany each reinstallation of the work. By the time the visitor encounters the work, only the material and photographic traces of its creation remain, forming an invitation to imagine how it came to be. In the artist’s words: ‘I think that’s what the world is like, shaped more by what is absent than what is visible.’

With my hollow awareness that everything in the world constantly forms and changes, and that I was also a part of this ever-changing structure, I meditated on how to grasp the world and myself.
— Lee Kang So

The recasting of documentation of past performances as artworks in their own right is central to Lee Kang So’s meditation on ideas of transience and transformation. The exhibition presents several further examples of the artist’s experimental installations and performances from the 1970s through documentation and sculptural artefacts that become relics of the original events. Among them, a group of black and white photographs testify to the unfolding of the 1977 Painting (Event 77-2), in which a nude Lee Kang So paints his own body before wiping himself down with a canvas cloth: a gesture the artist relates to Yves Klein’s Anthropometries. The original cloth becomes a static sculptural object on the floor of the gallery, forming a reflection on the embodiment of experience and existence: ‘a tactile portrait’, in the artist’s words. 

I was interested in expanding the language of painting to include forms that are physical, that can be wiped away, that allow for varied interpretations.
— Lee Kang So

Painting 78-1 (1977), Lee Kang So’s first foray into video art, also investigates the act of painting. The artist positioned a sheet of glass in front of a camera and filmed himself painting it, reversing the typical relationship of viewer to artwork by allowing us to observe the act of painting from behind an imagined canvas, as the artist’s body gradually vanishes behind the brushstrokes. Ideas of disappearance are explored across the works in the exhibition: notably in photography of his 1973 installation Disappearance. Lee Kang So purchased the fittings of a local bar, transplanting it in its entirety into Myongdong Gallery in Seoul, where he invited visitors to inhabit its displaced volumes which, bearing the stains and scars of a past existence, speak to questions on the way we relate to objects and where meaning is held. 

During the 1970s, Lee Kang So not only developed a groundbreaking practice off the canvas, but also interrogated the very praxes of painting by exploring its fundamental component: its very fabric. This is evidenced by the two 1975 works in hemp on view in the exhibition, which were created in Paris as the artist prepared for the Biennale. Influenced by the Supports/Surfaces movement that he witnessed during his time in France, which was characterised by an examination of painting’s formal elements, the artist’s early experiments with painting were rooted in his material dissection of the canvas itself. ‘If I was going to pursue a new format of flat painting’, explains the artist, ‘I had to first examine the structure of the flat surface’. As such, these trailblazing works are made by pulling threads from the woven hemp – a traditional support used in historic Korean art – to create areas of tension and opening, pucker and cavity. As Lee Kang So explained: ‘I realised that the canvas itself had potential as an artwork’.

From the 1980s onwards, Lee Kang So shifted his attention to painting in the more conventional sense, commencing an exploration of landscape through recurring leitmotifs like deer and boats, articulated in sparse brushstrokes. These paintings, inspired by the artist’s observations of the natural world around him, embody his desire to work in gestures rooted in memory and experience. Over the course of the 1990s and into the 21st century, these motifs have gradually dissolved, their stylistic impulsivity and reduction, which increasingly recall the calligraphic strokes of literati painting, betraying the artist’s growing sensitivity to the ineffable forces of the world around him. The title of the exhibition is drawn from a classical Korean poem written by Yi Hwang, a renowned 16th-century Confucian scholar. Composed during a retreat to Andong mountain, the poem reflects Yi Hwang’s deep engagement with nature: ‘Dwelling in mist and glow / Befriending wind and moon’. Lee Kang So profoundly resonates with the poet’s sense of unity with nature, which echoes his own conception of art as an act of attunement with the natural realm and its ever-shifting rhythms, rather than personal assertion.

Uniting the works on view is their embodiment, as Lóránd Hegyi, curator of Lee Kang So’s 2016 exhibition at the Musée d’Art Moderne et Contemporain de Saint-Étienne Métropole, put it, of the ‘essential, basic questions of the human orientation in the universe’. As the artist himself wrote when describing his work at the 1975 Paris Biennale: ‘Rather than depicting images through our conventional method, which falls outside the subject-object relationship, I aim to present an open structure that reveals the normally invisible order and relationships within the universe, making these unseen states naturally visible.’ Whether through the retreat of the creator’s hand in his performances, or through the sense that his paintings are gradually being reclaimed by the intangible, Lee Kang So questions artistic authority and even the very idea of objective reality, instead making art a space of resonance for the viewer’s own perceptive possibilities. ‘By erasing himself within his works’, wrote Lee Soo Yon, curator at the National Museum of Modern and Contemporary Art, Seoul, ‘he invites the audience to complete the piece.’

The exhibition at Thaddaeus Ropac Paris Marais will run concurrently with the second part of the artist’s major retrospective, opening at Daegu Art Museum on 22 September 2025. The first part of the retrospective took place at the National Museum of Modern and Contemporary Art, Korea (MMCA) in 2024.

‘Saiyaara’ has come as a huge surprise at the box office as the film is expected to emerge as one of the biggest opening films of 2025. This year, during the first six months, we saw movies like ‘Chhaava’ and ‘Raid 2’ opening well at the box office. Even Salman Khan’s ‘Sikandar’ had a good opening number on day 1 but of course, it eventually started seeing a drop. ‘Saiyaara’ is expected to churn out a double digit number on day 1 which will be huge for a film with debutants. Till Friday afternoon, the movie has already made Rs 10.3 crore at the box office, according to Sacnilk, which is a better trend than many big movies. The word of mouth for the film, Mohit Suri’s direction and the acting prowess of debutants Ahaan Panday and Aneet Padda is great. Thus, by the end of day 1, when the night shows numbers come in, the movie is expected to end up with a double digit number for sure. Moreover, with positive word of mouth, the numbers can be expected to grow over the weekend. Infact, according to Box Office India, ‘Saiyaara’ has taken the biggest opening in many regions. The only exceptions are the areas in the Maharashtra belt like Mumbai, CP, and Nizam, where Chhaava still holds a stronger start. But in the rest of the country, Saiyaara has outperformed all other major releases of the year, including Chhaava, Sikandar, and Housefull 5.

See more: ‘Saiyaara’ Movie Review and Release Live Updates The film features a superhit song and is a full-on love story with strong youth appeal — something we haven’t seen in a while, as most recent releases stick to safer rom-coms that rarely break big. What’s even more surprising is the incredible response right from the morning shows, which is rare these days. Usually, even the biggest films pick up as the day goes on, but this one started strong with packed theatres, especially driven by the youth and college crowd. So, unlike others, this film isn’t about building momentum — it’s already there from the first show. The film features a superhit song and is a full-on love story with strong youth appeal — something we haven’t seen in a while, as most recent releases stick to safer rom-coms that rarely break big. What’s even more surprising is the incredible response right from the morning shows, which is rare these days. Usually, even the biggest films pick up as the day goes on, but this one started strong with packed theatres, especially driven by the youth and college crowd. One has seen momentum from the first show itself. The music and the feeling of nostalgia brought by Mohit Suri, which reminds people of the Emraan Hashmi era of movies, has surely helped ‘Saiyaara’. Net collection of the film in India Day 1 [1st Friday]₹ 10.3 Cr **- Total₹ 10.3 Cr

By Charlie Lankston

The Hollywood Hills property was once owned by Emma Roberts

Actress Sarah Paulson is preparing to part ways with her longtime Los Angeles abode, putting the midcentury modern Hollywood Hills home on the market for $3 million-just weeks after admitting that she “sometimes” wants to “move away” from the U.S. altogether.

The listing comes just a few months after Paulson, 50, offloaded a very different abode: her luxury Malibu trailer home, which she sold for $1.45 million back in April.

Now, the “American Horror Story” actress is bidding farewell to her main Los Angeles residence, a stunning three-bedroom, four-bathroom property that is nestled in the Hollywood Hills, just above Laurel Canyon-and boasts a very impressive celebrity history.

Paulson, who has been in a relationship with fellow actress Holland Taylor for more than 10 years, bought the property from another very famous face: her “American Horror Story” co-star, Emma Roberts, back in 2016.

The actress paid $1.65 million for the dwelling in an off-market deal-although Roberts later admitted that she should have charged Paulson more for the home after it was revealed that there was a secret swimming pool located on the property.

Speaking to Architectural Digest about her planned renovations for the home, Paulson revealed that she was exploring the option of installing a pool on the grounds, only for the man who came to check out the potential to discover that there was already one there.

“I had the guy come up, and it turns out there is a pool already underneath the ground!” Paulson revealed. “I just saw [Roberts] the other day and I’m like, ‘Did you know you had a pool under there?’ She was like, ‘WHAT! I WOULD HAVE CHARGED YOU SO MUCH MORE MONEY!’”

Today, that pool has been meticulously renovated and restored, and now occupies a sizable portion of the home’s yard, along with the spa.

According to the listing, Paulson worked with landscape architecture firm Johnston Vidal to overhaul the backyard area, with the description hailing the final result as boasting “striking desert-inspired landscaping” that “offers distinct zones for relaxation and entertainment.”

Meanwhile, the inside of the home was given an even more extensive transformation, courtesy of interior design firm Nickey Kehoe, the same company that the actress enlisted to help her with the design of her Malibu trailer home.

“Exceptionally private and filled with character, this midcentury home artfully balances refined detail with a warm, welcoming aesthetic-crafted to feel personal, layered, and quietly luxurious,” the listing crows.

Much like Paulson’s former trailer park dwelling, her Hollywood Hills abode features ample colors and textures, as well as several very luxurious design elements, including heated floors in all of the bathrooms, marble tiles, and enormous glass doors that open up to the backyard from the main living area.

There is also a built-in sound system that provides music throughout every room of the home, as well as a detached one-bedroom ADU-style structure at the back of the home, which has its own bathroom-and could be used as a gym, studio, or a “serene retreat,” per the listing.

Although Paulson has not revealed why she is selling the dwelling, the listing marks the second time in a matter of months that she has put a California property on the market.

More from Realtor.com: ‘Home Town’ Star Erin Napier Slams Rumors That She and Husband Ben Are Heading for Divorce: ‘Not Real Y’all’

The actress, who was raised in New York, where she began her career on Broadway, spent much of her time on the East Coast in rented apartments-and Roberts’ property was the first home she had ever purchased.

She admitted soon after buying the home that she had not been fully prepared for the lengthy process involved in renovating it to her specific tastes, a process that ultimately took more than a year.

“You live and you learn when you buy your first house and I’m trying to be comforted by the fact everyone says to me that this is par for the course,” she told AD in May 2017. “They just told me to be patient, and that’s not my strong suit.”

Paulson’s purchase of the home came around one year after she and Taylor began dating, and she has maintained the home as her primary residence ever since, revealing in 2024 that she and her partner never officially moved in together.

“We don’t live together, that’s the sort of secret,” she said during an appearance on the “Smartless” podcast after being asked about how the two have stayed so happy together for so long.

More from Realtor.com: The Best $6,500 I’ve Ever Spent on My Home (And It’s Not What You Think)

“Holland and I, we spend plenty of time together but we don’t live in the same house. We’ve been together for a long time now and I think part of it has to do with, we’re together when we wanna be and we’re not when we don’t.”

The actress went on to explain that she and Taylor would alternate time between their respective homes, noting that the pair “like to fall asleep holding hands.”

“We sleep holding hands. I like to sleep near her. I don’t want to be around her the rest of the time,” she joked.

Luckily for the couple, Taylor’s home, which she has owned since 2005, according to records, is located just a seven-minute drive from Paulson’s newly listed pad.

More from Realtor.com: Only 12 U.S. States Require HOAs To Maintain Cash Reserve Plans: What Owners Should Know

It’s unclear if Paulson is planning to finally move in with her partner, purchase a new Los Angeles dwelling-or perhaps bid farewell to the West Coast once and for all in favor of returning to the Big Apple.

She even admitted recently that she has considered cutting ties with the U.S. altogether over the political climate in the country-revealing in a candid interview with European publication El Pais: “It’s an incredibly difficult time for me. When I watch or read the news, I’m simply perplexed. Sometimes I want to move away.”

Her answer came while she was discussing her status as what El Pais described as a “symbol for the LGBTQ+ community,” a role that she described as being bittersweet because of the pressure that it puts on her relationship with Taylor.

More from Realtor.com: This Northeast Region Has 3 of the Hottest Housing Markets-but Still Remains ‘Affordable’

“I don’t see it as a burden, but I don’t always like feeling like my relationship belongs to someone else,” she explained. “It’s a strange thing. However, what makes me happy is that, in a way, through our relationship, we can set an example of two people who fell in love.

“For many, our age difference [31 years] is very disconcerting. That’s why I like to represent something so positive and unconventional, because living by predetermined social norms is boring, and why would you follow a path that isn’t yours? So yes, I like to represent something so positive. And at the same time, my relationship belongs to me.”

This story originally ran on Realtor.com.

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Confidence coach Regina Bonds thinks that flirting in real life is a lost art.

“In this new world of dating, everybody’s behind a computer screen,” she says. “So many people don’t know how to put themselves out there.”

If talking to a cute stranger makes your palms sweat, but you’d like to meet someone without the help of a dating app, Bonds has advice. “Get out there and be confident,” she says.

Bonds, a certified life coach based in Atlanta, helps clients assert themselves in love and relationships. She shares four common fears people have when approaching a romantic interest in the wild — and how to overcome them.

The situation: You’re afraid they won’t like you.

The solution: Practice self-love. 

“The first romance needs to be with you,” Bonds says. If you’re too nervous or afraid to talk to someone because you don’t think you’d be a good romantic partner, build up your self-esteem.

Try saying a positive mantra in front of the mirror that affirms your worth. “Tell yourself you’re the type of person someone would love to be around,” Bonds says.

Then, tell yourself some of the things you like about yourself and your body, even if that feels hard. Maybe it’s your freckles, your curves or your eyelashes. “That creates such a momentum when it comes to confidence,” Bonds says.

The situation: You want to show interest but don’t want to be creepy.

The solution: Start with eye contact. 

It’s a simple and effective way to show interest, and it can help determine whether an approach is welcome, Bonds says.

Let’s say you’re in the freezer aisle of the supermarket and you see someone you like. Go ahead and make eye contact. If they look back at you and smile, that’s a promising sign, Bonds says. “You can walk over to them. That’s not creepy.”

However, if they look away when you try to make eye contact, that’s probably a signal to push your shopping cart in the other direction.

And if you do start talking to someone and they tell you they’re not interested, or their body language shows they’re uncomfortable, leave them be.

The situation: You want to strike up a conversation but have no idea what to say.

The solution: Pay them a compliment. 

You’re pretty sure that cutie you always see at the coffee shop is interested in you too. Now what?

Don’t worry about being the first person to make a move. When it comes to dating, there are no rules, Bonds says.

Say something nice about their eyes, their outfit or their coffee order. Or, if you’re feeling cheeky, try a pickup line like, “I haven’t seen a smile like that all summer long,” Bonds says. “That can open the door to an amazing conversation.”

If your banter is holding up the coffee line, go ahead and grab those digits. It doesn’t have to be awkward, Bonds says. “I would say something as gentle as, ‘I’m really enjoying this, but I have to go. Would you like to exchange information?’ “

The situation: They didn’t call you back.

The solution: Be proud of putting yourself out there. 

You made a bold move at a bar last weekend and asked someone for their number. You felt like you both connected. But it’s been a few days and they haven’t reached out.

“If they don’t call you, that’s OK,” Bonds says. Don’t let it affect your self-worth. “What someone else thinks of you [should not] be what you think of you.”

Remember that you took a risk and tried something scary. “Be thankful for the experience. Whoever’s meant for you will find you,” Bonds says.

The producer of this episode is Margaret Cirino. This story was edited by Meghan Keane. The visual editor is Beck Harlan. We’d love to hear from you. Leave us a voicemail at 202-216-9823, or email us at LifeKit@npr.org.

Listen to Life Kit on Apple Podcasts and Spotify, and sign up for our newsletter. Follow us on Instagram: @nprlifekit.

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