Five Fun Places to Feast In William’s

With a meticulous eye for the hungry stomachs, Indonesia Tatler has picked top newly opened eateries in Jakarta to order from

A central location at Sudirman’s business district area means that William’s is the perfect spot for enjoying lunch and dinner in its blue-walled and wooden-chaired cosiness. Italy’s veal Ossobuco is one savoury choice paired with barley and fried mushrooms, or Indonesia’s spiced gulai made from pan-fried salmon together served with corn salsa. Close off the meal with the beautiful Eton Mess, an artful gathering of fresh fruits, roasted coconut flakes, sweet meringue and fried bubur sumsum.

Another year, another art season coming to a close. And what a spell 2017 was for the creative realm: the Venice and Istanbul biennials, a very quirky (and expensive to the point of bankruptcy) Documenta 14 in Kassel and Athens, the opening in Cape Town of the Zeitz Museum, dubbed “Africa’s Tate Modern,” and, last month, the debut of the spectacular Louvre Abu Dhabi. There were also touring retrospectives of major artists, from Chagall to David Hockney and Yayoi Kusama, a worldwide centennial celebration of Rodin, and a contemporary Chinese art exhibition at the Guggenheim in New York (Art and China After 1989: Theatre of the World) that had animal rights activists protesting outside. On we go to 2018 and a stimulating new range of events around the globe. The following eight cry out for inclusion on art lovers’ calendars. Katharina Grosse lives in a coloursaturated world. She’s known for using reams of fabric and industrial spray guns in lieu of brushes to create vibrant, site-specific installations that challenge the limits of painting. The German artist sits at the crossing of drawing and land art, in a space where picture frames are out the window and traditional art boundaries are forcefully, almost aggressively discarded. With her unfettered method, she has taken over abandoned buildings and public gardens, seashores and industrial environments. In January, Grosse will unveil a sprawling piece at the Carriageworks arts centre as part of the annual Sydney Festival, immersing audiences within a canvas that could only be described as epic. This is Grosse at her best: 8,250 square metres of suspended fabric running through Carriageworks’ cavernous hallways, upon which the artist will spray-paint a spiralling palette of colours to dizzying effect. The political is personal for performance artist Danh Vo, which is why his work feels remarkably poignant in the current global climate—and why the Guggenheim is holding the first comprehensive survey in the US of his work. Vo was born in South Vietnam in 1975 but grew up in Denmark after he was plucked by the crew of a Danish tanker from the boat his father built to flee Vietnam. Drawing inspiration from his background, Vo has become one of the most compelling artists of our time. His works address issues such as Western colonisation and the arbitrary nature of identity, religion, capitalism and artistic authorship. He examines the inherent power games and tensions through intimate narratives involving found documents, objects and images, a display of possessions from his family members, and assemblages of items purchased and collected over the years. The latter items include thankyou notes from Henry Kissinger and chandeliers from the Hotel Majestic where the signing in 1973 of the Paris Peace Accords ended the Vietnam War—items that he deconstructs and recombines into sharp tableaux. The Guggenheim show will present more than 100 pieces and installations, what Vo calls “the tiny diasporas of a person’s life.”