gallery

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.

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.

“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.

“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.”

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.

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.

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.

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.”

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.

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.

Eclectic and cozy define the spirit of this North Hollywood coffee shop owned by Jennifer Jackson and Libby Ward. The name (and whale logo) is a playful twist on corporate giant Starbucks (with “Starbuck” being a character in “Moby Dick”), and the satire extends to the names of the drink sizes: guppy (small), trout (medium) and whaley (large).

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.