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The Winter Olympics ended as the twin flames in host cities Milan and Cortina d’Ampezzo were extinguished during a closing ceremony at the ancient Verona Arena, roughly mid-distance between the far-flung mountain, valley and city venues that made these the most spread-out Winter Games ever.

In declaring the 2026 Games over on Sunday, International Olympic Committee President Kirsty Coventry told local organisers that they “delivered a new kind of Winter Games and you set a new, very high standard for the future”.

The next Winter Games will be held in neighbouring France, which received the Olympic flag in the official handover earlier in the ceremony. Following the same spread-out model, the 2030 Winter Games will stage events in the Alps and Nice, on the Mediterranean Sea, while speed skating will be held either in Italy or the Netherlands.

A total of 116 medal events were held in eight Olympic sports across 16 disciplines, including the debut of ski mountaineering this year, over the course of 17 days of competition. With the final events wrapping up just hours before the ceremony, the 50km mass start men’s and women’s cross-country medals were awarded by Coventry inside the arena.

Hosts Italy won their highest Winter Olympic tally of 30 medals, including 10 gold and six silver, surpassing the previous record of 20 medals, set at the Lillehammer Olympics in 1994.

The closing ceremony paid tribute to Italian dance and music, from lyric opera to Italian pop of the 20th century to the DJ beat of Gabry Ponte, who got the 1,500 athletes on their feet and dancing while colourful confetti exploded on stage. Italian artist Achille Lauro delivered the last word with the song “Incoscienti Giovani”, or “reckless young people”, just before athletes who had so aptly harnessed their youthful energy for these games filed out.

The Milano Cortina Winter Olympics spanned an area of 22,000sq km (8,500sq miles), from ice sports in Milan to biathlon in Anterselva on the Austrian border, snowboarding and men’s downhill in Valtellina on the Swiss border, cross-country skiing in the Val di Fiemme north of Verona, and women’s downhill, curling and sliding sports in Cortina d’Ampezzo.

The closing ceremony concluded with the Olympic flames extinguished at the unprecedented two cauldrons in Milan and Cortina, viewed in Verona via videolink. A light show substituted for fireworks, which are not allowed in Verona to protect animals from being disturbed.

The Milan Cortina Paralympics’ opening ceremony will also take place in the Verona Arena, on March 6, and the games will run until March 15.

Pakistan says it has launched strikes on armed groups in Afghanistan after blaming recent suicide bombings, including attacks during the Muslim holy month of Ramadan, on fighters it says are operating from its neighbour’s territory.

Kabul has repeatedly denied allowing armed groups to use Afghan territory to stage attacks in Pakistan.

Afghanistan’s Ministry of Defence on Sunday said “dozens of innocent civilians, including women and children, were martyred and wounded” when strikes hit a school and homes in the eastern provinces of Nangarhar and Paktika.

Nangarhar police told the AFP news agency the bombardment started about midnight (19:30 GMT on Saturday) and hit three districts.

“Civilians were killed. In one house, there were 23 family members. Five wounded people were taken out,” police spokesperson Sayed Tayeeb Hammad said.

The Afghan Defence Ministry said it will “deliver an appropriate and calculated response” to the Pakistani strikes.

The two countries have been locked in an increasingly bitter dispute since the Taliban authorities retook control of Afghanistan in 2021.

Pakistani military action killed 70 Afghan civilians from October to December, according to the United Nations mission in Afghanistan.

Several rounds of negotiations followed an initial ceasefire brokered by Qatar and Turkiye, but they have failed to produce a lasting agreement.

Saudi Arabia intervened this month, mediating the release of three Pakistani soldiers captured by Afghanistan in October.

The deteriorating relationship has had repercussions for people in both countries with the land border largely closed for months.

Not only is Betye Saar a living legend, but the prolific L.A. artist continues to add to her impressive oeuvre day by day.

She’s been creating powerful, thought-provoking artwork since the ’60s and her pieces have been shown at the Smithsonian, the Museum of Modern Art, the Art Institute of Chicago and LACMA, as well as museums and galleries around the world.

In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.

As her centennial birthday approaches this July, Saar shows no signs of slowing down. She still routinely creates art and continues to garner headlines and accolades. Last year, she was honored with the distinction of “Icon Artist” at the Art Basel Awards. During the upcoming Frieze Los Angeles art festival, which opens Feb. 26, she will be the subject of the photography installation “Betye Saar Altered Polaroids.” And this May, “Let’s Get It On: The Wearable Art of Betye Saar” will debut at Roberts Projects, the gallery that represents her. The exhibition will feature pieces from her early career as a costume and jewelry designer.

Though she’s skilled at painting and photography, she’s most widely known for assemblage, the art of juxtaposing miscellaneous items to form a single cohesive work. Her dioramas, sculptures and large-scale multimedia installations explore the legacy of American slavery, confront racial injustice and celebrate the strength and resiliency of African American women.

“I work with found objects that had another purpose before they came to my hands,” Saar says while seated at a patio table in her succulent-filled tiered garden. “The hardest part of it is going to a flea market, secondhand stores, an estate sale or even just going behind a store to see what people throw away.”

Over the years, she’s traveled by plane, train and automobile in search of usable materials. Meanwhile, admirers, colleagues and gallery workers have sent her curios from New Mexico, Tennessee, New England and beyond. Her daughters — artists Alison and Lezley, and writer Tracye, their mother’s studio director — also stay on the lookout for objects that might catch her eye.

“I’ve been doing this for a long time, so I have quite a collection,” she says.

Indeed, Saar’s multi-level home studio in Laurel Canyon is bursting with dozens of old empty picture frames, discarded window panes, wooden chests, antique chairs and vintage clocks. But there’s always room for more.

Her idea of a perfect Sunday includes foraging for new items (or old ones, as the case may be) to use in her daily art practice. And she’d return to her roots to do it.

“Pasadena is my hometown and I still have a few relatives that live there,” she says.

While visiting her old stomping grounds, she’d embark on a multi-stop shopping spree and wander through a longtime favorite San Gabriel Valley attraction (where her work just so happens to be on display).

This interview has been lightly edited and condensed for length and clarity.

10 a.m.: Search for hidden treasures

Pasadena Community College Flea Market is something that’s part of “the hunt.” Alison usually drives, sometimes Tracye. Some people are there early to get the deals; we’re not like that anymore. I like to look around and sometimes I find interesting fabrics, scarves to wear and strange-shaped succulents for my garden. I hardly ever find really good antiquing things there, because those are at antique stores and they’re usually pretty pricey. But I bought an old, rusty metal birdcage the seller said was from France. I like rusty stuff for my art. I also found an indigo blue kimono to wear at an art event later this year.

1 p.m.: Replenish with Thai food

I’d go down Fair Oaks Avenue — there’s some secondhand stores. Usually, it’s nothing I can use, but I still can’t say no. I have to go see for myself. Then, lunch at Saladang Garden. I always order chicken sate and the green papaya salad. Last time I went, we tried the Thai corn fritter which was really good and crispy. If food is too spicy, I can’t eat it. But somebody in my party would always have something spicy and I can have a spoonful to add to mine.

2:30 p.m.: More shopping

I am attracted to all the odd things at Gold Bug. Notepads and trinkets, curious vintage-y things with animals or interesting patterns, strange candles. Sometimes I surprise myself by buying something. They have a mixture of things that — whether it’s for the color, or the texture — I feel that I can recycle and fit into an art object that I’m making.

3:30 p.m.: Visit a childhood haunt (with a side of more shopping)

I really like the Huntington’s gardens. I remember the first time I went there was with my mother and a friend of hers, and we walked around. All the paths were dirt, you know, they hadn’t even gotten around to paving it yet. But I just fell in love with it. And I really like their gift shop.

6 p.m.: Head west for a culinary classic

If I go someplace to eat for lunch, I usually have leftovers to warm up. Nothing wrong with leftovers — if you liked it the first time, you’ll like it again! But if I had to go out to dinner, the Apple Pan. I would go there in the ’80s with my daughters. I like their sandwiches, or the hickory burger with cheese, and there’s good French fries.

8 p.m.: Tuck into some wind-down watching

Before bed, I like to watch the news because, otherwise, I don’t know what’s going on. I also like a lot of shows on PBS. “Finding Your Roots,” or dramas like “Sister Boniface Mysteries” and “Call the Midwife,” which has been going on forever!

North Korean leader Kim Jong Un has showcased a newly constructed residential street for families of soldiers who have died fighting in Russia’s war in Ukraine, according to state media.

Intelligence agencies from South Korea and Western nations have reported that North Korea has dispatched thousands of soldiers to fight for Russia, and Seoul estimated they have suffered 2,000 casualties.

Experts suggested North Korea receives financial aid, military technology and essential supplies from Russia in exchange for this support.

Its official Korean Central News Agency (KCNA) released photographs showing Kim touring the new homes on Saeppyol Street in Pyongyang with his daughter, Ju Ae, widely regarded as his heir apparent.

South Korea’s intelligence agency recently claimed she has been “designated as a successor”, citing her involvement in high-profile events with her father.

One image depicted families inspecting utilities in their new apartments.

“The new street has been built thanks to the ardent desire of our motherland, which wishes that … its excellent sons who defended the most sacred things by sacrificing their most valuable things will live forever,” Kim said in a speech released by KCNA.

Although Monday’s report did not mention Russia, Kim recently pledged to “unconditionally support” all policies and decisions made by Russian President Vladimir Putin.

“Before their death, the heroic martyrs must have pictured in their mind’s eye their dear families living in the ever-prospering country,” he added.

The unveiling preceded the ruling Workers’ Party congress in Pyongyang, the nation’s most significant political event, scheduled this month. Observers are closely monitoring Kim’s announcements on foreign and domestic policy directions as well as whether Ju Ae will be granted any official party titles.

Hong Min, an analyst at the Korea Institute for National Unification, told the AFP news agency that the timing of the street inauguration represents a “highly calculated political move to justify its soldier deployment” before the party congress.

“It visualises the state providing tangible compensation to the families of fallen soldiers … as a symbolic showcase,” he said.

Defending champions India have thumped Pakistan by 61 runs in a grudge Group A match at the Twenty20 World Cup in Colombo, Sri Lanka, to secure their place in the Super Eight stage of the cricket tournament.

Suryakumar Yadav’s side made 175-7 after a flying start from Ishan Kishan’s superb 77, before bowling Pakistan out for 114 in 18 overs.

The defeat on Sunday extended Pakistan’s dismal record against India in World Cups.

India have now won eight of the sides’ nine meetings at T20 World Cups, as well as all eight of their encounters at ODI World Cups.

The cricket teams of the nuclear-armed, contentious neighbours only face each other in multi-nation tournaments at neutral venues under a longstanding compromise arrangement.

It has been more than 18 years since India and Pakistan last met in a Test match, and 13 years since either side crossed the border to play a bilateral series.

Thousands of fishermen converged on the milky waters of the Matan Fadan river, a UNESCO heritage site, winding through verdant landscape in northwestern Nigeria’s Argungu.

President Bola Tinubu joined thousands of spectators on Saturday, cheering competitors vying to catch the largest fish, despite security concerns deterring some attendance.

Participants employed only traditional methods, including hand-woven nets and calabash gourds, with some demonstrating their prowess using bare hands. The Kebbi State waterway teemed with woven nets and canoes as fishermen waded through.

This year’s champion landed a 59kg (130-pound) croaker fish, winning a cash prize. Other participants sell their catch, stimulating the local economy.

The river remains closed throughout the year, overseen by a titled authority known as Sarkin Ruwa, the water chief.

The fishing contest marked the pinnacle of the annual international fishing festival, which showcased cultural displays, including traditional wrestling and musical performances.

“I thank God that I got something to take home to my family to eat. I am very happy that I came,” Aliyu Muhammadu, a 63-year-old fisherman who participated in the competition, told The Associated Press news agency.

The festival originated in 1934, marking peace between the extensive Sokoto Caliphate – a vast 19th-century Islamic empire spanning from Nigeria into parts of modern-day Burkina Faso – and the previously resistant Argungu emirate.

Considered a symbol of unity, the festival ran continuously for decades until 2010, when infrastructure problems and growing northern Nigerian insecurity forced its suspension. It briefly resumed in 2020 before pausing again until this year.

Nigeria faces complex security challenges, particularly in the north, where thousands of people have been killed in attacks over the years.

While Tinubu characterised the festival’s return as a sign of stability, for many, it represents restored community pride.

“Our challenge now is that people are scared of coming. A lot of people don’t attend the event like before because of insecurity,” said Hussein Mukwashe, the Sarkin Ruwa of Argungu.

Police in the Australian city of Sydney have used pepper spray against pro-Palestine protesters who have rallied against a visit by Israeli President Isaac Herzog.

A journalist with the AFP news agency witnessed police arresting at least 15 demonstrators during the confrontation on Monday. Media members covering the event were also affected by pepper spray.

Thousands of demonstrators gathered in Sydney’s business district with more protests planned across the country on Monday night.

In Melbourne’s city centre, simultaneous protests took place with participants demanding an end to Israel’s occupation of Palestinian territory. About 5,000 protesters gathered outside downtown Flinders Street Railway Station before marching several blocks to the State Library, blocking evening peak-hour traffic, according to police.

The protests continued despite Palestine Action Group organisers losing a court challenge of a police order barring them from marching from the Town Hall in Sydney to the New South Wales Parliament.

A 20-year-old woman was arrested after allegedly burning two flags and causing fire damage to a tram stop. Police released her but said she was expected to face wilful damage charges.

Activists said Herzog, whom a United Nations commission of inquiry has found to be responsible for inciting genocide against Palestinians, should not be immune to protests.

“President Herzog has unleashed immense suffering on Palestinians in Gaza for over two years – brazenly and with total impunity,” Amnesty International’s Australia chapter said. “Welcoming President Herzog as an official guest undermines Australia’s commitment to accountability and justice. We cannot remain silent.”

Herzog characterised the protests as mostly attempts to “undermine and delegitimise” Israel’s right to exist.

Earlier, Prime Minister Anthony Albanese had called for respectful behaviour during Herzog’s visit, noting he would join the president to meet families of the victims of the December Bondi Beach mass shooting.

New South Wales authorities implemented recently expanded police powers under new protest management legislation. Protesters’ legal challenge to these measures was rejected by the state’s Supreme Court shortly before the demonstrations began.

Herzog had earlier laid a wreath in the rain at Bondi Pavilion to honour victims of the attack that killed 15 people during a Hanukkah celebration.

The Israeli president began his four-day Australian visit there. He also met with survivors and victims’ families.

“This was also an attack ‌on all Australians,” Herzog said at the site. “They attacked the values that our democracies treasure, the sanctity of human life, the freedom of religion, tolerance, dignity and respect.”

“I’m here to express solidarity, friendship and love,” he added.

A massive fire has broken out at a bazaar in western Tehran, authorities say, sending thick plumes of black smoke over the Iranian capital.

The cause of the blaze on Tuesday morning was not immediately unclear.

The fire has “so far resulted in no injuries”, Tehran emergency services operations commander Mohammad Behnia said.

The blaze started at a market in the Jannat Abad neighbourhood in the west of the capital, an area packed with stalls and shops, state television quoted the city’s fire department as saying.

“The fire is extensive, to the extent that it is visible from various parts of Tehran,” Fire Department spokesman Jalal Maleki said.

Maleki later said the blaze had been “brought under control” and that “smoke removal and spot-check operations” were under way, according to Iran’s official IRNA news agency.

State television said firefighters were dispatched to the site immediately to contain the blaze.

The Syrian army has deployed to the northeastern city of Hasakah, previously controlled by the Kurdish-led Syrian Democratic Forces (SDF), implementing the first phase of a United States-backed ceasefire agreement.

A large convoy of military trucks entered Hasakah on Monday, hours after the SDF imposed a curfew. Syrian forces arrived as part of the newly brokered agreement between Damascus and the SDF announced last Friday.

The agreement aims to solidify the ceasefire that halted weeks of conflict during which the SDF lost substantial territory in northeastern Syria.

It establishes a framework for incorporating SDF fighters into Syria’s national army and police forces, while integrating civilian institutions controlled by the group into the central government structure.

Under the terms of the agreement, government forces will avoid entering Kurdish-majority areas. However, small Interior Ministry security units will take control of state institutions in Hasakah and Qamishli, including civil registries, passport offices and the airport.

Kurdish local police will continue security operations in both cities before eventually merging with the Interior Ministry.

The government forces’ entry into Hasakah occurred without incident and as scheduled.

Turkish President Recep Tayyip Erdogan – whose government has long viewed the SDF as an extension of the Kurdish-led armed rebellion in Turkiye – issued a stern warning to Kurdish forces.

“With the latest agreements, a new page has now been opened before the Syrian people,” Erdogan said in a televised address. “Whoever attempts to sabotage this, I say clearly and openly, will be crushed under it.”

Friday’s agreement includes provisions for establishing a military division incorporating three SDF brigades, plus an additional brigade for forces in the group-held town of Ain al-Arab, also known by its Kurdish name Kobane, which will operate under the state-controlled Aleppo governorate.

The arrangement also provides for the integration of governing bodies in SDF-held territories with state institutions.

According to Syria’s state news agency SANA, Interior Ministry forces began deploying in rural areas near Kobane on Monday.

Since the overthrow of longtime ruler Bashar al-Assad 14 months ago, interim President Ahmed al-Sharaa’s efforts to unify the fractured nation under central authority have been hampered by deadly clashes with the SDF and other groups.

Interiority is a concept that multimedia artist Sarah Sze has been fixating on lately.

“So much of what we experience is actually interior,” Sze said in a recent video interview. “We’ve become so exterior focused. We’re so outward looking.”

At a time when it’s all too easy to consume a never-ending stream of social media images, the celebrated New York-based artist is more interested in scrolling through the images stored inside her own mind.

Her new show, “Feel Free,” champions the mind’s eye, in all its random, fragmented glory. It brings a collection of new paintings and two immersive video installations to Gagosian Beverly Hills.

Sze is known for her unconventional sculptures and large-scale paintings, which she’s shown in such venues as the Museum of Modern Art, LACMA and the U.S. Pavilion at multiple Venice Biennales. In 2023, she left her mark on both the inside halls and the exterior walls of the Guggenheim Museum, and her public sculptures have transformed a grassy hillside as well as a pine grove and an international airport.

Sarah Sze’s Gagosian Beverly Hills show “Feel Free” is meant to feel intimate.

(Ariana Drehsler/For The Times)

At the Gagosian show, Sze leaned into the intimate and fragile, while continuing her signature experimental streak.

In one of her newest pieces, “Once in a Lifetime” — part sculpture, part video display — precarious clusters of bric-a-brac form a mechanical marvel that appears to defy gravity.

A stack of small projectors is cradled inside of a fantastical tower fashioned out of crisscrossed tripods, metal poles and ladders festooned with an assemblage of toothpick structures, empty cardboard containers that once held crayons and Lactaid, dangling prisms, arts & crafts scraps, and paper cut-outs of deer and wolves (figures that appear throughout the show).

The bare gallery walls surrounding the monument flash with rotating projections of construction sites where buildings are being erected and demolished, clouds drifting across tranquil blue skies, and city lights twinkling then slowly dissolving into floating fractals. The Dadaist piece is every bit as off-kilter and fascinating as the Talking Heads song that inspired its title.

“Once in a Lifetime” is part video display and part sculpture, made of tripods, toothpicks, lights, cardboard boxes and projectors that flicker images on the gallery walls. (Ariana Drehsler/For The Times)

“The most important thing about my show is that I hope it’s really challenging and exciting and gives young artists license to do what they want to do,” Sze said.

“When they come in and say, ‘Wait … I didn’t know you could put up toothpicks going to the ceiling and throw a video through it and make it into a movie. I didn’t know you could put a pile of things on the floor in front of a painting.’ It’s like, ‘OK! Yes, you can!’”

Meanwhile, large canvases in the main gallery space are covered with oil and acrylic paints and printed backdrops dotted with an assortment of images: sleeping female figures; hands pointing, drawing and flashing peace signs; the sun at different stages of setting; birds in flight; wolves and deer in their natural habitats. Layered on top are paint splotches and streaks, as well as taped-on paper and vellum, blurring and obscuring the collage of figures underneath.

“Escape Artist,” left, “White Night” and “Feel Free,” are new paintings by Sarah Sze at Gagosian Beverly Hills.

(Ariana Drehsler/For The Times)

“One of the things I was thinking about was when we dream and then we wake up, there’s this extreme, fleeting moment where you’re trying to grasp the dream,” Sze said. “The dream is disappearing at the same time, and you’re trying to re-create those images.”

She went on to describe “a landscape turning into a different landscape, and then you’re falling, and then you’re turning, and then someone appears that you didn’t expect to be there.”

In addition to this spree of the subconscious, the artist offers glimpses of her creative process. Pooled on the ground below the canvases (and even dangling from the rafters above) is an assortment of the tools of her trade — from tape measures to paint scrapers. Brushes, pens and pencils lie next to the ripped cuffs of cotton workshirts, and drops of blue and white paint are splattered on the floor, extending the artwork beyond the wall.

Sze spent five days installing the show inside the gallery and the commonplace supplies incorporated into the pieces are what she dubbed “remnants of the workspace.”

“Sleepers,” a video installation Sze debuted in 2024, plays with the light entering through a gallery window. Images of sleeping heads and forest animals play amid the sound of cello notes and deep breathing.

(Ariana Drehsler/For The Times)

If the paintings act as snapshots of dreamscapes, “Sleepers,” the video installation she debuted in 2024, sets those images in motion. Dozens of hand-torn paper fragments connected by rows of string become miniature projection screens, each flashing with images of the same sleeping heads, busy hands and forest animals. These are interspersed with flashes of TV static and ocean waves, all set to the sounds of humming, disjointed cello notes and deep breathing.

Directly in the center, a slender vertical window — part of the gallery’s architecture — illuminates the otherwise darkened room with a pillar of natural light, further contributing to the ethereal nature of the piece.

Viewed at the right angle, the piece resembles a giant eye. It’s the perfect visual cue to get visitors thinking about what we see and how we see it.

From farmers protesting in Europe against a trade agreement between the European Union and the South American bloc Mercosur to deadly attacks in Pakistan’s Balochistan province that killed nearly 200 people and demonstrations in Cuba opposing threats by the United States, here is a look at the week in photos.

Pop artist Kii Arens made a name for himself in music over the years, creating concert posters for bands and vocalists such as Radiohead, Elton John, Dolly Parton, the Weeknd, Sonic Youth, Tame Impala, Diana Ross and more.

That work is taking center stage at Arens’ new downtown Los Angeles gallery, FAB LA, in a show titled “And the Winner Is.” Curated by Arens and featuring poster art of Grammy winners, the exhibition is set to open Friday, two days before the 2026 Grammys descend on the city, and just in time to welcome plenty of visiting celebrity faces to the gallery’s third-ever event.

A glittering party scene is part of every exhibition Arens hosts, dating back to his previous gallery, LA-LA Land, which he opened two decades ago on Santa Monica Boulevard in Hollywood and ran until its lease came up last year.

FAB LA officially launched in October with “XO, LA: A Love Letter to Los Angeles,” an exhibition that reflected the eclectic voices and existential challenges that define L.A. culture with paintings, illustrations and mixed media works by Shepard Fairey, Corita Kent, Anthony Ausgang, Ashley Dreyfus, Paul Frank and others.

Pop artist Kii Arens lays on his desk in his new gallery, FAB LA, inside the historic Fine Arts Building on 7th Street in downtown Los Angeles. Posters from his new show, “And the Winner Is,” feature images of Grammy winners just in time for the big awards show.

(Genaro Molina / Los Angeles Times)

The flamboyant “Mick Rock’s Rocky Horror Art Show” followed in December. The exhibition was among the last events marking the famous cult film’s 50th anniversary, and featured Rock’s famous photographs alongside pieces by pop star designer Michael Schmidt and digital portraitist Plasticgod. As with previous events at LA-LA Land, the opening attracted rockers, drag queens and club world cognoscenti.

DJs Sean Patrick (Simon Says) and Chris Holmes (Paul McCartney’s touring DJ, and creative collaborator with Cosm) manned the decks, and “RuPaul’s Drag Race All Stars” winner and podcaster, Alaska Thunderf—, performed as Tim Curry’s Dr. Frank-N-Furter, dancing and prancing around the grand environs.

There are galleries all over Los Angeles, but few can be described as works of art unto themselves. FAB LA is that and more.

Its majestic headquarters are housed inside downtown’s historic Fine Arts Building — a breathtaking palace-like structure with a 100-year history of craftsmanship and creativity.

Located near the intersection of 7th and Flower streets, the landmark building was featured in the 2009 film “(500) Days of Summer,” a hidden gem overshadowed in recent years by hectic street life, chain food spots and bustling business energy. Used primarily as an office building, its ornate design, carvings and sculptures — including a ground floor fountain with frolicking bronze youths — hadn’t invited much public attention or appreciation.

Pop artist Kii Arens catches some air in front of the historic Fine Arts Building where he has opened his new gallery, FAB LA. The building was designated a Historic-Cultural Monument in 1974 and restored in 1983.

(Genaro Molina / Los Angeles Times)

That changed late last year when Arens took over the first two floors.

“Historically, artists lived and worked inside this building,” he said during a recent opening. “This idea really resonated with me.”

Originally from St. Paul, Minn., Arens moved to L.A. in 2004 and promptly opened LA-LA Land. The Hollywood showroom debuted on election night 2004 with a group exhibition called “Happy War,” featuring anti-war works and Fairey as DJ. Wild and kitschy shows followed with opening fetes dedicated to colorful subjects including Andy Warhol, circus clowns, and Canadian television creators and puppeteers Sid and Marty Krofft.

In addition to creating art and DJing, Arens is also a musician, and his eclectic music projects reflect his nostalgic proclivities. They include a rock outfit called FLIPP, which he describes as, “the Sex Pistols meets the Spice Girls,” as well as a pop-duo called Jinx, and solo work that counts 4 Non Blondes’ Linda Perry as a collaborator.

Arens is a largely self-taught visual artist. His work has always leaned toward entertainment figures and musical subject matter, which led to major commissions for album covers and tour poster art — some of which will be featured in the upcoming exhibition at FAB LA.

Poster prints of Elton John, left, and Jim Morrison, by Pop artist Kii Arens are part of his latest show, “And the Winner Is,” which features poster art of Grammy winners and is on display in Aren’s new gallery, FAB LA, which opened late last year.

(Genaro Molina / Los Angeles Times)

When LA-LA Land’s lease expired, Arens sought a new place that would embrace his experimental energy. He also wanted a unique backdrop for showcasing imagery that “treats pop culture as a shared memory for all to take in,” he said. “Something worthy of being preserved, not just consumed.”

The Fine Arts Building’s longtime real estate representative, Gibran Begum, was looking for the same thing. Preservation was part of the conversation when the two connected, but both were also focused on revitalization and augmenting the structure’s old-world charms with something fresh and modern. The goal was to once again bring art lovers to the neighborhood.

A cohesive arts event had been lacking in the area since the monthly Downtown Los Angeles Art Walk scaled down in the face of traffic and permit issues, and more recently COVID closures. The event recently resumed, and though it’s much smaller Arens said he has high hopes for its growth, and for FAB LA’s place in its future.

As does Begum, who calls the Fine Arts Building “a rare and special space.”

“The second you enter, you’re somewhere else, it’s almost like walking into something in Florence, Italy,” Begum said. “We were looking for someone to help rejuvenate and reenergize it and who understood the culture of it.”

Pop artist Kii Arens strikes a pose inside the historic Fine Arts Building where he has opened his new gallery, FAB LA. The building was designed in the Romanesque revival style by architects Albert R. Walker and Percy A. Eisen, who also created the Beverly Wilshire Hotel in Beverly Hills.

(Genaro Molina / Los Angeles Times)

Designed in the Romanesque revival style by revered architects Albert R. Walker and Percy A. Eisen, who also created the nearby Oviatt Building as well as the Beverly Wilshire Hotel in Beverly Hills, the building’s exterior is embellished with dramatic columns and arches. Its interior features gargoyles, griffins and other mystical figures by sculptor Burt W. Johnson, as well as hand-crafted tiles by Ernest Batchelder and murals by Anthony B. Heinsbergen. A vintage elevator ferries guests between floors.

The opulent building opened on Dec. 8, 1926, attracting an estimated crowd of 27,000, and was named a Historic-Cultural Monument in 1974.

Though various artists have shown in the building over its 100-year history, FAB’s vibrant vision, focused on the intersection of design and fine art media, feels like the right fit for the current moment.

“I almost feel like the ghosts of some of the artists are looking down at me and smiling, knowing that what they loved is happening here again,” Arens said.

This includes immersive gatherings, which are a big part of Arens’ plans for FAB. “We’ll have movie premieres, live music events, poetry and I definitely want to have fashion,” Arens said. “The room would make a great runway!”

Charity is also part of the picture.

“And the Winner Is,” serves as a fundraiser for Oxfam, which works to relieve global poverty. Arens said he’s been hosting charity events for the group for the last five years — always right around the Grammys.

“We’ll have a bunch of amazing vinyl records donated by Rhino, and we’ll have clothing donated from famous musicians. Matt Pinfield is DJing and so is Jeffrey Ross,” Arens said.

A poster of Liza Minnelli by Pop artist Kii Arens is part of his latest show, “And the Winner Is” which features poster art of Grammy winners and opens over Grammy weekend.

(Genaro Molina / Los Angeles Times)

The exhibition, which closes March 8, will feature some of what Arens calls his “greatest hits,” including an ebullient Liza Minnelli portrait, and other significant prints such as a black-light poster design of Dolly Parton, and a Van Halen print representing Eddie Van Halen’s famed red-, black- and white-splattered “Frankenstein” guitar design on a notebook.

“I’m into simplifying images until they become familiar, immediate and emotional,” Arens said of his work. “I like to strip images down to what people recognize instantly. The feeling comes first, then I’m focused on evoking optimism, color and joy.”

Up next: A show in April in association with the animation studio Titmouse and dedicated to the art of animation.

“In this moment where everything feels disposable, I want to make something that is solid, something you stand in front of, not scroll past,” Arens said.

More than 70,000 people, mostly women and children, have fled from Tirah, a remote region in northwestern Pakistan bordering Afghanistan, as fears grow of an imminent military offensive against the Pakistan Taliban, according to local residents and officials.

Pakistan’s Defence Minister Khawaja Muhammad Asif has contradicted claims made by locals and provincial authorities, insisting no military operation is occurring or planned in the Khyber Pakhtunkhwa province town.

During an Islamabad news conference, he attributed the mass migration to harsh weather conditions rather than military actions, despite residents fleeing for weeks over fears of an impending army operation.

The exodus began after mosque announcements in December last year urged residents to vacate Tirah by January 23 to avoid possible conflict. This follows Pakistan’s August military campaign against Taliban forces in the northwestern Bajaur district, which displaced hundreds of thousands.

Shafi Jan, a provincial government spokesman, blamed federal authorities via social media for the displaced people’s hardships, accusing the Islamabad government of changing its position regarding military operations.

Meanwhile, Khyber Pakhtunkhwa Chief Minister Sohail Afridi, from imprisoned former Prime Minister Imran Khan’s party, has opposed military intervention and pledged to prevent a full-scale operation in Tirah.

Military officials maintain they will continue targeted intelligence operations against Tehrik-e-Taliban Pakistan (TTP). They claim many TTP fighters have found refuge in Afghanistan since the Afghan Taliban’s 2021 return to power, with hundreds crossing into Tirah and using residents as human shields during raids.

Nearly half of population

Local government administrator Talha Rafiq Alam reported that approximately 10,000 families – about 70,000 people – from Tirah’s 150,000 population have registered as displaced. The registration deadline has been extended from January 23 to February 5, with assurances that residents can return once security improves.

Zar Badshah, 35, who fled with his family, said mortar explosions in villages recently killed one woman and injured four children in his community. “Community elders told us to leave. They instructed us to evacuate to safer places,” he said.

At a Bara government school, hundreds waited in registration lines for government assistance, many complaining about slow processing. Narendra Singh, 27, explained that members of the Sikh minority also fled Tirah due to food shortages worsened by heavy snowfall and security concerns.

Tirah gained national attention last September after an explosion at an alleged bomb-making facility killed at least 24 people. While authorities claimed most casualties were TTP-linked fighters, local leaders contested this account, stating civilians, including women and children, were among the dead.

Inside, the whimsical nautical vibe continues in the front room with a floor mural, resembling the deep blue sea and various colorful sea creatures, done by local illustrator Tak Sparks.

Three back rooms with bold colored walls — green, blue, yellow and orange — feel like living rooms with wooden stools, desks, chairs and tables, area rugs, upholstered armchairs and worn leather seats. Out back, a shaded patio strung with Edison bulbs extends the seating.

The walls recently featured art by local comic artist/illustrator Josh Maikis, as well as art by two of the shop’s employees’ parents, J.H. Smith’s ink and intaglio prints and Carolyn Root’s wildlife paintings.

In the front space, bags of free coffee grounds are available for customers to take home for composting. There’s also a propagation station where you can leave or take plant clippings.

Beyond seasonal drinks and espresso-based drinks, try unusual signature offerings like the Shiny Squirrel, a blended espresso with caramel, whipped cream, white and dark chocolate, and sprinkles on top. Or, if coffee isn’t your thing, there are smoothies, hot chocolate and Italian sodas, and a wide array of teas. Jackson is also an herbalist and makes some of them, including Good Night Moon and Frankie Goes to Hollywood, with her own herbs.

Here, the coffee doesn’t stop at the beverages. Even a caprese sandwich has coffee in the balsamic vinegar.