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FIA World Rally Championship competitor Takamoto Katsuta becomes brand amabassador for Rebellion Timepieces. FIA World Rally Championship competitor Takamoto Katsuta brand amabassador for Rebellion Timepieces Katsuta (TOYOTA GAZOO Racing), who is currently competing in the FIA World Rally Championship (WRC), has been appointed as a brand ambassador of Rebellion Japan, the exclusive Japanese distributor of the Swiss luxury watch manufacturer "Rebellion Timepieces". He will begin full participation in the top category of WRC class in 2021 and is currently the only Japanese WRC driver. He, continues to challenge and fight in the toughest environments around the world, and Rebellion’s which is also the official partner of Alfa Romeo F1 Team ORLEN this year, its DNA, passion, and philosophy match and have led to his appointment as a brand ambassador. On Tuesday, April 5, the inauguration ceremony for the new ambassadors was held at the Rebellion Timepieces booth at Watches and Wonders Geneva 2022, a luxury watch exhibition held in Geneva, Switzerland. At the inauguration ceremony, Mr. Calim Bouhadra, representative of the brand, presented a watch and Mr. Daisuke Hasegawa, representative of RebellionJapan, presented a racing glove with the watch printed on it. Racer will wear the Re-Volt Chronograph printed glove during the rally competition and the PREDATOR 3HANDS outside of the competition, and through his year-long racing activities, he will show the world the passion, originality, and "no-compromise attitude" of the Rebellion timepieces. Calim Bouhadra, CEO of REBELLION Corporation stated: “We are delighted to welcome Takamoto Katsuta to the Rebellion Timepieces family. Rebellion's DNA comes from motorsport, as you know, this year we are working closely with Alfa Romeo F1 Team ORLEN and, to be able to challenge more the world of motorsports, we decided that the WRC with Katsuta following F1 is truly in line with Rebellion's philosophy of 'Continuously pushing the boundaries of possibility'. Together with Katsuta, who continues to compete in the WRC, we are looking forward to further expand Rebellion's possibilities.” Daisuke Hasegawa, CEO of REBELLION Japan: “Who could express Rebellion's philosophy? When we considered this, the image of Takamoto Katsuta, who competes in the WRC, came to mind. Katsuta is the only Japanese who challenges WRC, and it was a natural choice to appoint him as a brand ambassador because his attitude of continuously challenging the limits in a harsh environment matches Rebellion's philosophy and passion. We hope that his success will embody the world view of Rebellion Timepieces.” Takamoto Katsuta, TOYOTA GAZOO Racing: “I am very honored to share the battle and get an offer to be an ambassador. Rebellion's 'no-compromise attitude' is something I keep in mind when I work on rallies. Through our activities together and our mutual passion for motorsport, I hope that as many people as possible can experience the joy of motorsport. And I will continue to do my best to show this through our results.”

Hauser & Wirth hosts its first exhibition of John Chamberlain's (1927–2011) work in Switzerland. Chamberlain was a distinctly American artist who channeled the postwar period's revolutionary power into a six-decade-long practice of endlessly imaginative practice. Back in 1964, Chamberlain represented the United States in the American Pavilion at the 32nd International Exhibition of the Venice Biennale. Installation view, ‘John Chamberlain. Reclaimed’ at Hauser & Wirth Zurich, Bahnhofstrasse1, until 21 May 2022 © 2022 Fairweather & Fairweather LTD / Artists Rights Society (ARS),New York. Courtesy the John Chamberlain Estate and Hauser & Wirth. Photo: Jon Etter. He received many awards during his life, including a Doctor of Fine Arts, honoris causa, from the College for Creative Studies, Detroit (2010); the Distinction in Sculpture Honor from the Sculpture Center, New York (1999); the Gold Medal from The National Arts Club Award, New York (1997); the Lifetime Achievement Award in Contemporary Sculpture by the International Sculpture Center, Washington D.C. (1993); and the Skowhegan Medal for Sculpture, New York NY (1993). Chamberlain has been the subject of numerous solo exhibitions, including two major retrospectives at the Solomon R. Guggenheim Museum in New York NY in 2012 and 1971. 'John Chamberlain. Reclaimed' will feature a group of five late sculptures made from the bodies of discarded mid-century cars from Kaufdorf, Bern. The colorful fingerprint of the era can be seen on these antique Cadillacs, Fords, Buicks, and Chevrolets. Chamberlain uses discarded materials from a historic and valued place to return to his sculptural roots in mostly black, white, and silver. Reclaiming disposed from nature In 2008, Chamberlain came across an auction in Kaufdorf, Bern, of historic cars collected by the Messerli family. CHAMBERLAIN JOHN- Vintage cars in the Franz Messerli auto-graveyard in Kaufdorf, Bern, 2009Erik and Petra Hesmerg and More Gallery Courtesy Fairweather & Fairweather LTD and More Gallery. Described as an ‘auto graveyard’, the empty shells of vintage cars were stacked in endless rows and consumed by the forest, left to the unsparing will of nature for almost 80 years. Along with friend, collector, and collaborator Ernest Mourmans, Chamberlain acquired the bodies of dozens of 1940s and ’50s automobiles, ‘yanking motors out of them, and the transmissions and the brakes and the suspensions, the glass, all the wheels, the upholstery’. Chamberlain was particularly drawn to American-made cars as they had separate chassis, which could be easily removed, leaving the shells to be conquered. The artist then worked with crushers and other tools to compact the large sheets of the remaining metal into entirely new, expressionist forms. Chamberlain first gained renown for his sculptures constructed from automobile scrap metal in the late 1950s and 1960s. These were ground-breaking works that effectively transformed the gestural energy of abstract expressionist painting into three dimensions. Beginning in the 1970s, he began to experiment with an array of other found materials such as foam rubber, Plexiglas, paper bags and aluminium foil. These playful explorations often informed his work with automotive scrap metal—his ideal ‘art supply’—which continued throughout his career. The late works on view in Zurich explore the formal and full expressive potential of this once abandoned industrial material. While some series of works employed metals which were augmented with colour and pattern by Chamberlain, this series derives its palette entirely from the original paint finish applied to the metals from these mid-century cars. See more on www.HauserWirth.com

Haute Jewels Geneva will return to the Fairmont Grand Hotel Geneva from Sunday 26th March–Sunday 2nd April 2023. The third edition of Haute Jewels Geneva will return in 2023 with eighteen top global jewellery brands participating at the first floor of Fairmont Hotel Geneva. The brands included, Yoko London, Roberto Coin, Sutra, Crivelli, Bayco, Etho Maria, Stenzhorn, Marco Bicego, Mariani, Palmiero, Picchiotti, Verdi, Gorgoglione, Hans D. Krieger, Leo Pizzo, Annamaria Cammilli, Barakà and Sicis. Haute Jewels Geneva Founder and CEO of Yoko London, Michael Hakimian, said “we are delighted that Haute Jewels Geneva will be returning in 2023. The 2022 edition was a resounding success and marked the start of an exciting new chapter for the jewellery industry. The event’s intimate format delivers a targeted, luxurious experience that is more enjoyable and productive for both the brands and visitors. We are further developing the Haute Jewels Geneva vision this year and look forward to welcoming visitors from across the globe to experience the event.’ The inaugural Haute Jewels Geneva which took place in 2019, saw four jewellery brands (Yoko London, Roberto Coin, Sutra and Crivelli) join forces to create a new jewellery show that broke the boundaries of traditional trade shows. After being forced to cancel the event due to Covid in 2020 and 2021, Haute Jewels Geneva 2022 offered an elegant environment for jewellery buyers and suppliers to conduct business. The eighteen participating jewellery houses had participated in countless trade shows around the globe, and this collective experience informed the Haute Jewels Geneva concept. Hause of Leo Pizzo Each of the distinguished jewellery houses participating offer something unique but are likeminded in their approach to jewellery creation. Hauser of Palmiero They are seen as artisans in their own field, combining high quality materials with superior design to create spectacular haute jewels. These jewellery houses have participated in countless trade shows around the globe, and this collective experience has informed the Haute Jewels Geneva concept. Each of the distinguished jewellery houses participating offer something unique but are likeminded in their approach to jewellery creation. They are seen as artisans intheir own field, combining high quality materials with superior design to createspectacularhaute jewels.Although Haute Jewels Geneva has grown exponentiallysince its inception, one of its key aims remains to remove the formality from thetraditional trade show experience, providing a relaxed atmosphere for both clientsand exhibitors todiscover exclusive jewellery designs. Haute Jewels Geneva will take place at the Fairmont Grand Hotel Geneva, from26thMarch–2ndApril 2023. Further details and visitor registration can be found at, www.hautejewelsgeneva.com

Lee Lozano. No title. 1963-1964.Oil on canvas, two parts 175.3 x 254 cm. © The Estate of Lee Lozano. Courtesy Hauser & Wirth. Photo: Stefan Altenburger Photography Zürich. Hauser & Wirth presents 'Seventy Years of The Second Sex', a group exhibition in one of its galleries in Zurich. This show aims to instigate a conversation about Simone de Beauvoir's groundbreaking study, 'The Second Sex" with and through contemporary art. We talk to the exhibit’s curator Dr. Berrebi about intentions and wishes to present these works to the Zurich public. Yea Dr. Sophie Berrebi: When I proposed this exhibition to the gallery, I was teaching students about De Beauvoir and ‘The Second Sex’ and I felt this urgency, speaking to a younger generation, of inviting them to read the book, of inviting them to constantly be aware of how patriarchy is still a dominant force in society and that it is too easy to fall back into traditional roles and attitudes ascribed to women in society rather than explore, invent, create other roles and behaviours. Cindy Sherman, Untitled 2019 Dye sublimation print 215.3 x 195.6 cm / 84 3/4 x 77 inches 228.6 x 208.9 cm / 90 x 82 1/4 inches (framed) Courtesy the artist and Hauser & Wirth © Cindy Sherman At the same time, I felt that this exhibition topic echoed the DNA of Hauser & Wirth, and its emphasis on female artists, an emphasis that goes back to Ursula Hauser and her collection. I remembered seeing a film, in which Ursula Hauser explains her admiration for older female artists whom she met when she began collecting: Meret Oppenheim (who is an important reference for Lou-Pitteloud) and Louise Bourgeois. This statement is beautiful, and rather radical if you think of the way in which the art world has tended to favour younger female artists (and young artists in general). So for me, to invite visitors to keep in sight Beauvoir's discourse as well as feminism as it has developed in the seventy years since the publication of her book. Louise Bourgeois Femme Maison 1994 White marble 12.1 x 24.4 x 7.6 cm / 4 3/4 x 9 5/8 x 3 inches © The Easton Foundation / 2022, ProLitteris, Zurich MM: This exhibition features pieces by Louise Bourgeois, Geta Brtescu, Eva Hesse, Roni Horn, Zoe Leonard, Lee Lozano, Annak Lou Pitteloud, Cindy Sherman, and Lorna Simpson, which you curated. How did you select this particular collection of artists, other from the obvious pairing of Hesse and Bourgeois? Dr. S. Berrebi: The artists in the show are all, first of all, amazing artists whose works span the second half of the twentieth century until the present day. Further to this, they are all artists that have accompanied me over the years. Louis Bourgeois and Eva Hesse I discovered as an art student, Lorna Simpson and Roni Horn, later on, as a young art critic. Cindy Sherman, I discuss with my students at university, Zoe Leonard I wrote about in my first book, and Annaik Lou Pitteloud is someone with whom I have daily discussions nowadays about feminism, art and politics. So together, these artists are part of my life, which means that they are part of discovering the world. They constitute an aesthetic and intellectual horizon. M. M.: What art movements were the first to be influenced by Beauvoir's moral philosophy and ideas? Do you believe that Simone de Beauvoir was influenced by any particular art movements? Dr. S. Berrebi: Thanks for your question. It is hard for me to answer in general, although I would argue that works of art philosophise in a way that is different but equivalent to the way that philosophers do. When it comes to making a thematic exhibition, it's crucial that art works are not there to illustrate the theme in any way. Here my aim was to present works that simply, in their very existence, claim a space, claim a creative path, and develop an independent intellectual and formal endeavour. The selection of the works is quite personal, these are works that I intuitively went towards when thinking about ‘The Second Sex’. Reading back some portions of it very recently, I was amazed by the way in which she writes very frankly about sex, about power relations within heteros-exual intercourse, and that is why the works by Lee Lozano are so important in the exhibition. They are the first works that the viewer sees in the show and they engulf them in an incredible maelstrom of sensuousness, power, violence and intimacy that for me echoes passages of ‘The Second Sex’ about sexuality. But Lozano's work also have a dark humour that is not present in the book . MM: Dr. Berrebi, you write: "The works on display in this exhibition, in some cases, appropriate ideas from "The Second Sex." In others, they might illuminate, muddle, complicate, or underscore the blind spots in Beauvoir’s thinking. In all cases, they continue the conversation." Could you elaborate on this? Dr. S. Berrebi: So, I guess that my ideal viewer would be triggered into thinking about what it means to be a woman and what it means to be an artist when they see the show, that they will respond to the works imaginatively, viscerally, that the work will in different ways, take the viewer in a journey. I also hope it will make people who have not read ‘The Second Sex’ want to read the book, or read other feminist texts, and those who have read it, to remember it. We have installed a reading corner in the bookstore of Hauser & Wirth Publishers, exactly for this purpose. See more at, www.hauserwirth.com

Astronauts Come Together in London from Around the World to Celebrate Going to the Moon, NASA’s Artemis Mission, Commercial and International Space, and Showcasing the way space exploration makes life better on Earth. At a time when peace on Earth is in doubt, the space community reminds us that we are living on one planet together. Photo by Shanna Lockwood Space for a Better World, a 501c3 non-profit, is hosting the AIM HIGHER Gala at the Science Museum in London on May 3rd to commemorate the 50th anniversary of the Apollo 16 Mission while showcasing and promoting how space benefits life on Earth. Ten astronauts from around the world, along with the UK Space Agency and UK Space Command, will gather together for the first time since the pandemic hit to discuss how their unique perspective from going to space has altered their view of Earth. “Blessed with the opportunity to experience our planetary home from the extraordinary vantage point of space, I saw the glowing colors of land and sea, and the overwhelmingly beautiful presentation of our interconnectivity all wrapped up in the only border that matters: The thin blue line of our atmosphere that blankets and protects us all,” said Astronaut Nicole Stott, author of the newly released book Back to Earth. “On a personal mission to bring these lessons back to Earth, I’m fully supportive of Space for a Better World’s mission and their celebration of the 50th anniversary of Apollo 16 with Moonwalker Charlie Duke and friends. It will be a wonderful opportunity to reflect on the legacy of the Apollo program, a legacy that inspires us to explore farther reaches of the unknown, to go back to the Moon with Apollo’s sister Artemis, and to continue to aim higher as we work off the Earth for the benefit of all life on Earth with a future that can be as beautiful as it looks from space.” The event will be hosted by TV presenter Dallas Campbell and virtually by BBC star and physicist Professor Brian Cox. The program will highlight the benefits of space missions, including how satellite data is used to analyze the health of the planet and help scientists monitor climate change. Awards will be presented including the Space Icon Award given to General Charlie Duke, the 10th man to walk on the Moon, most famous as the Capcom for Apollo 11 when Neil Armstrong and Buzz Aldrin made the first lunar landing in July of 1969. The Pioneer Award will be presented to Poppy Northcutt, the first woman to work in Mission Control during the Apollo 8 mission to orbit the Moon for the first time in 1968. A family-friendly public event with several astronauts will be held the day before the AIM HIGHER Gala at the Science Museum IMAX Theater, followed by a book signing with Astronauts Nicole Stott and Dr. Sian Proctor. Reservations are required for the IMAX theater with the book signing open to the broader public. “There is a major awareness gap between most of the world and what’s going on in the space industry,” said Christina Korp, former manager of Astronaut Buzz Aldrin and Founder of Space for a Better World. “At a time with so much crisis and young people worried about climate and their future on Earth, it’s imperative to bridge the gap about the ways space is a powerful and important tool to help solve the world’s biggest problems. Space science is critical for Earth observation and climate research, including crop monitoring and food supply, among many other important initiatives. We need to bridge the gap, so more people can see how space tech is already playing a major part in making life better on Earth and what is possible if we look to space for more solutions. We also need everyone on board to improve life on Earth; not just the engineers, scientists and astronauts. I’m working hard to show how there’s room for everyone in space.” AIM HIGHER GALA | SFABW (spaceforabetterworld.com) Astronauts Attending: Gen. Charlie Duke, Apollo 16, 10th man to walk on the Moon and Capcom for Apollo 11 Tim Peake, British Astronaut, UK’s 1st European Space Agency astronaut at the ISS Nicole Stott, NASA Astronaut & Aquanaut, 100+ days in space, and 10th woman to conduct a spacewalk Susan Kilrain, NASA Astronaut and Navy Test Pilot, 2nd woman and youngest person to pilot the Space Shuttle Soyeon Yi, South Korean Astronaut, the 1st and only South Korean ever to go to space Naoko Yamazaki, JAXA astronaut, 2nd Japanese woman to go to space Inspiration4 SpaceX Astronauts: Jared Isaacman, Mission Commander Dr. Sian Proctor, Mission Pilot, the 4th black woman to go to space and the 1st black woman to be a Mission Pilot Chris Sembroski, Mission Specialist Hayley Arceneaux, the youngest person to go to space and the 1st person to have a disability as a childhood cancer survivor Awardees: Gen. Charlie Duke, Apollo 16, 10th man to walk on the Moon and Capcom for Apollo 11 Poppy Northcutt, 1st female engineer in Mission Control at Johnson Space Center Hosts: Dallas Campbell, BBC Presenter Professor Brian Cox, virtually, Physicist and BBC Star Major Sponsors Include: OMEGA Axiom Space British Airways COMO Hotels and Resorts Zero Gravity Corp

All-electric Rolls-Royce concludes winter testing 55km from Arctic Circle. Spectre endures -40˚C temperatures at specialist facility in Arjeplog, Sweden. 25% of 2.5 million km testing programme, simulating 400 years of use, is now complete. Rolls-Royce aluminium spaceframe Architecture of Luxury confirmed. Emotional design, size and ‘split’ lamps create spiritual successor to Phantom Coupé. ‘Rolls-Royce 3.0’ heralds new era of digital drivetrain and chassis engineering Decentralised Intelligence created to harmonise 141,200 sender-receiver relations Architecture unlocks secondary battery function: 700kg of sound deadening “The announcement of every new Rolls-Royce motor car carries a great weight of expectation, but Spectre is unquestionably the most anticipated product in the marque’s modern history. This is because it is much more than a product. It is a symbol for our bright, bold electric future, and it represents a seismic shift in our powertrain technology. "It is for this reason that we have created a testing programme that is as significant and historical as Spectre itself. The extraordinary undertaking of educating Spectre to think and behave like a Rolls-Royce will cover 2.5 million kilometres, which is a simulation of more than 400 years of use for a Rolls-Royce. Today, I can confirm that 25% of this journey is now complete, and the results have met our most ambitious expectations.” Torsten Müller-Ötvös, Chief Executive Officer, Rolls-Royce Motor Cars “Refining the all-electric drivetrain that underpins Spectre challenges the very definition of engineering. The departure from internal combustion engines allows us to significantly increase the processing power of our individual components and create a Decentralised Intelligence. We refer to this unprecedented era, where we benefit from a multi-control, multi-channel and highly interconnected electronic and electric powertrain architecture, as ‘Rolls-Royce 3.0’. “Our task is to teach each component and system how to think, behave and communicate like a Rolls-Royce, which sees much of the engineering pivot from workshops into the digital space. Here in Arjeplog we have built a significant foundation on which we will create a true Rolls-Royce. This is a big step forward for our brand, but also for electrification – even though Spectre is in its infancy, I can confirm that the technology is able to contain the Rolls-Royce experience.” Mihiar Ayoubi, Director of Engineering, Rolls-Royce Motor Cars ROLLS-ROYCE SPECTRE: BACKGROUND In September 2021, Rolls-Royce Motor Cars made an historical announcement that it would launch its most important product since 4th May 1904, when the marque’s founders Charles Rolls and Sir Henry Royce agreed that they would create “the best car in the world”. The Rolls-Royce Spectre. While Rolls-Royce has built a reputation for creating what are regularly described as “the best cars in the world” using internal combustion engines, the idea of electrification is something that is familiar to the brand. Henry Royce began life as an electrical engineer and dedicated much of his life to creating internal combustion engines that simulated the characteristics of an electric car – silent running, instant torque, and the sensation of one endless gear. Yet, the connection with the marque’s founders is far deeper. When Charles Rolls drove a 1900 electric car named the Columbia, he made a prophecy: “The electric car is perfectly noiseless and clean. There is no smell or vibration. They should become very useful when fixed charging stations can be arranged”. Spectre is the fulfilment of this prophecy. Spectre also represents a promise kept. In 2011, Rolls-Royce showcased a fully electric Experimental Phantom concept named 102EX. This was followed by 103EX, a dramatic design study that anticipated a bold electric future for the marque. These experimental cars prompted significant interest from Rolls-Royce clients. They felt that the characteristics of an electric powertrain would fit perfectly with the brand. Rolls-Royce Chief Executive Officer, Torsten Müller-Ötvös, responded to this with an unambiguous promise: Rolls-Royce will go electric, starting this decade. In September 2021, Charles Rolls’ prophecy and Torsten Müller-Ötvös’ promise led to an historical moment. Rolls-Royce confirmed that it had commenced testing of the first all-electric Rolls-Royce in history, Spectre. This extraordinary undertaking would be the most demanding testing program ever conceived by Rolls-Royce and would span 2.5 million kilometres, simulating more than 400 years of use for a Rolls-Royce, on average. ROLLS-ROYCE SPECTRE: WINTER TESTING A new Rolls-Royce motor car always begins its life in winter. Temperatures at the Bespoke facility used by the marque, located in Arjeplog, Sweden, just 55km from the arctic circle, drop to -26 degrees centigrade and are further cooled to -40 degrees centigrade. There are several reasons for subjecting the marque’s products to such extremes. When the first prototypes are built, engineers perform very basic tests in extreme conditions to ensure that each system is operational and functions at a basic level in a cold weather environment. This test is combined with the beginnings of the refinement process – the first ‘lessons’ in a finishing school that will form the foundations of a motor car worthy of the marque. This begins with processes that are common to the automotive industry such as noise, vibration and harshness tests. The variables that affect this are manifold, spanning from the materials selected for major hardware components to the density of the door rubbers, bushing compounds, fastening materials and even properties of bonding agents. The performance of these variables can change considerably when subjected to extreme temperatures – likewise the efficiency of the motor car’s heating, ventilation, air conditioning and cooling systems. As a true luxury brand, there is an additional component of winter testing that is of great importance to Rolls-Royce. This is defined by the marque’s engineers as ‘de-escalated time’, which enables incredible accuracy and control in creating the Rolls-Royce experience using Spectre’s chassis control systems, powertrain management and electronics control. By driving on low traction surfaces such as snow and ice and wilfully destabilising Spectre, the engineers can create dynamic circumstances at low speeds that would ordinarily occur at high speeds. This can be reviewed and guided in situ and in slow motion, in doing so parametrising and finessing cold-weather vehicle performance in areas such as handling, controllability, stability, predictability and the ‘waftability’ that defines the Rolls-Royce experience. De-escalated time enables engineers to create unparalleled detail in the motor car’s response, in doing so schooling Spectre to think, behave and communicate like a Rolls-Royce worthy of the marque. Following more than half a million kilometres of testing, 25% of this process has now been completed. ROLLS-ROYCE SPECTRE: ROLLS-ROYCE 3.0 Rolls-Royce 3.0 represents the beginning of the marque’s bold electric future. The term ‘Rolls-Royce 3.0’ is a reference to the brand’s progress during its renaissance, which began in Goodwood, West Sussex on 1st January 2003. The first Goodwood Rolls-Royce was Phantom, and it was underpinned by its own Bespoke architecture. This was Rolls-Royce 1.0. Following this, a new, highly flexible all-aluminium spaceframe architecture was conceived that could be adapted for multiple applications, including the current Phantom, Cullinan, Ghost and Coachbuild projects. This was Rolls-Royce 2.0. Rolls-Royce 3.0 is the integration of a fully electric power train and Decentralised Intelligence into the marque’s architecture. In component terms, the simplicity of the car has increased significantly. However, the requirement for engineering Spectre – of sending this uneducated car to Rolls-Royce finishing school – is unparalleled. The definition of engineering has changed. Historically, engineering a Rolls-Royce has taken place in workshops. Spectre sees this pivot into the digital space. Spectre is the most connected Rolls-Royce ever and each component within it is more intelligent than in any previous Rolls-Royce. It features 141,200 sender-receiver relations and has more than 1,000 functions with more than 25,000 sub functions. By comparison, Phantom has 51,000 sender-receiver relations, 456 functions and 647 sub functions. The dramatically increased intelligence of Spectre’s electronic and electric powertrain architecture enables a free and direct exchange of detailed information between these 1,000+ functions with no centralised processing. While this has required engineers to increase the length of cabling from around 2 kilometres in existing Rolls-Royce products to 7 kilometres in Spectre, and to write more than 25 times more algorithms, it offers a significant step forward for the brand. A dedicated control can be created for each set of functions which enables unprecedented levels of detail and refinement, allowing for what Rolls-Royce chassis specialists are already calling “Rolls-Royce in high definition”. ROLLS-ROYCE SPECTRE: ARCHITECTURE In creating a design for Spectre, a generously proportioned, highly emotional body style was selected. This could only be enabled with the marque’s all-aluminium spaceframe architecture. Indeed, the scale is so far beyond other contemporary coupés that it has been designated an Electric Super Coupé. It is the brand’s belief that there is only one other contemporary product that occupies this space – Phantom Coupé. The marque’s designers consider Spectre to be Phantom Coupé’s spiritual successor. Indeed, when it came to styling Spectre, the marque’s designers considered the dimensions and emotionality of Phantom Coupé, and other grand coupés from Rolls-Royce’s past. Not only did they create this emotion with Spectre’s fastback silhouette and size, but they also carried forward a key design feature of Phantom Coupé: the iconic split headlights, a design tenet that Rolls-Royce has owned for many decades. This design typology was selected in consultation with the marque’s clients, who found the idea of a Phantom-scale Electric Super Coupé highly appealing. However, the decision to pursue this aesthetic was also strategic. Leaders within the brand wanted the first fully electric Rolls-Royce to be highly emotional, something that shows that electric powertrain technology can deliver on the promise of such grand, seductive and compelling styling. While Spectre represents an historical moment for Rolls-Royce, it is also an historic moment for electrification – the technology is now able to contain the Rolls-Royce experience. The flexibility of Rolls-Royce’s proprietary architecture, which is reserved for the marque’s exclusive use and does not underpin mass market cars, enables the exterior design to carry the scale required to create the presence of an authentic Rolls-Royce. This is plain to see in Spectre’s wheel size – it will be the first coupé equipped with 23-inch wheels since 1926. The flexibility of the marque’s architecture also enabled designers to dramatize the coupé experience. By placing the floor halfway between the sill structures rather than on top or underneath the sills, there is a highly aerodynamic channel for the battery, providing a perfectly smooth underfloor profile. Likewise, this creates a low seating position and enveloping cabin experience. By moving the bulkhead location, designers and engineers have also been able to deepen the dashboard location to truly cocoon passengers. This is amplified with a dramatically low windscreen rake and incredibly efficient airflow profile. This, along with other intelligent design solutions such as an aerodynamically tuned Spirit of Ecstasy mascot, contributes to a drag coefficient (cd) of just 0.26 in early prototypes. The battery location, which is enabled by the marque’s architecture, unlocks another benefit that is commensurate with the Rolls-Royce experience. By creating wiring and piping channels between the floor of the car and roof of the battery, engineers have created a secondary function for the battery – 700kg of sound deadening. ROLLS-ROYCE SPECTRE: THE EXTRAORDINARY UNDERTAKING CONTINUES With the winter testing phase completed, Spectre will continue its global testing programme. The Electric Super Coupé still has to complete nearly two million kilometres before the marque’s engineers will consider this undertaking complete prior to first customer deliveries in the fourth quarter of 2023.

Considering the Ukrainian war situation, artist Irinel has decided to bid a painting online from the new collection “24 Wings of Angel”. Words: SERGIU CATALIN BORTA, Founder of ZING SPORT - ZING SCANNER apps Artist Irinel Georgescu stated: “I am so impressed seeing for real and not just on tv or breaking news, so many Ukrainian mothers, even pregnant women running away with children and left behind life, husbands and homes, trying to survive. They are forced to endure such cold weather, bombs, walking for so many miles through the border. Everything is incredible therefore, I decided to make a donation, one of my paintings, and all the money from the sale will go to offer all the needed support to these mothers and children. Please, let’s try to do something together, something that will really matters for them. Thank you so much for all your support.” "Irina" - which means Peace in Ukrainian - 39.37 x 47.24 Inch (100 x 120 cm) - Acrylic on canvas. The artist has chosen this painting to be in the same colors of the Ukrainian flag, symbolising the woman who left the country and left all behind. We must think in long term this situation. I believe we must help more at this first hand when they get in EU countries. We need to help them to integrate them children in education systems and jobs for the parents. All the money will be used to help Ukrainian Refugees through Charities for organizing Accommodation, Transport, Psychological Assistance, Romanian-Ukrainian translators, clothes, food, integration of emigrants and integration of children in the education system - kindergartens and schools. Let´s make a symbol for the UKRAINIAN REFUGEE MOTHERS through this painting. Let´s bring some hope for our future! Thank you so much for all your support! You are invited to Place a Bid to: Artist page on LinkedIn https://www.linkedin.com/company/artist-irinel-georgescu LinkedIn messenger:  https://lnkd.in/eYU-hGy WhatsApp: +40 772 059 594

The New Orbis Mundi (Latin “around the world” or “world’s rotation”) from BOVET 1822 is an aptly launching of the 200th anniversary celebrations of the fine Swiss watchmaker, that is now headquartered in a historic Swiss castle just outside Geneva, the capital of luxury watchmaking, but boasts flagship stores from (opening soon) New York to Singapore. Back in 1822, 200 years ago this year, founder Edouard Bovet, a watchmaker from Fleurier, Switzerland, and traveled the world. Due to this amazing history, the House of BOVET is inextricably linked to travel, and the House’s collection is complete with several double-, triple-, and world-time timepieces, all of which have been very successful with collectors around the world over the last 20 years. As a result, multiple time zone timepieces are in the DNA of the House, and BOVET has produced a number of different variations on this theme. In 2020, BOVET introduced the Récital 26 Chapter Two, the timepiece which received the “Mechanical Exception” award at the 2020 GPHG, featured a universal time sub dial at three o’clock, taking the multiple time zone display a step further. Back in 1822, 200 years ago this year, founder Edouard Bovet, a watchmaker from Fleurier, Switzerland, and traveled the world. Due to this amazing history, the House of BOVET is inextricably linked to travel, and the House’s collection is complete with several double-,triple-, and world-time timepieces, all of which have been very successful with collectors around the world over the last 20 years. As a result, multiple time zone timepieces are in the DNA of the House, and BOVET has produced a number of different variations on this theme. In 2020, BOVET introduced the Récital 26 Chapter Two, the timepiece which received the “Mechanical Exception” award at the 2020 GPHG, featured a universal time sub dial at three o’clock, taking the multiple time zone display a step further. Now, to celebrate BOVET’s 200th anniversary, the House is proud to introduce the Orbis Mundi. The Need Imagine you are on a business trip from Miami to Geneva, Switzerland, then on to Dubai, and finally finishing in Singapore. Just figuring out exactly what time it is after crossing several time zones is challenging enough, and, if you are wearing a standard world time watch, chances are the world time information on the dial is too small for your weary eyes to actually read. To address this need, BOVET 1822 has developed a major advancement in the setting and using of the world time function–the Orbis Mundi. This new timepiece shows all 24 time zones at a glance, thanks to its top-of-the-world display, and all functions are set using just the crown. This display makes reading the time anywhere in the world a breeze. The world today is getting smaller and smaller, as more people are working from home and interacting more and more with others from all around the globe. BOVET 1822 might be based above the small village of Fleurier in Switzerland, but there are BOVET collectors and partners all around the world. So, it's more important than ever to know what time it is anywhere and everywhere in the world. The Solution With the Orbis Mundi, reading the time in all 24 time zones is intuitive and simple, as the world cities radiate from the top of the globe so they can be viewed easily, at a glance. “As you can imagine, I travel quite a lot as head of BOVET 1822, and deal with people in many different time zones,” owner Mr. Pascal Raffy says. “I wanted an elegant timepiece that would make it easy to set and tell the time anywhere in the world. My team of amazing developers and watchmakers and I came up with a surprisingly simple yet beautiful way to display all 24 time zones.” When Mr. Raffy was designing the world time dome of the Recital 26 Brainstorm Chapter Two, which won the “Mechanical Exception” award at the watchmaking Oscars in 2020, he already had in mind its adapted use in the Orbis Mundi. In development for more than two years, the Orbis Mundi, Latin for “the world,” simplifies both the setting and the indications of the world timer for a new generation of watch lovers. The Orbis Mundi, thanks to BOVET’s engineering expertise, is easy to set, using only the crown to both set the time and the 24 world cities. Turn the crown counter-clockwise to set the hours and minutes, and clockwise to set the unique 24 world time zone dial. Exquisitely finished, the Orbis Mundi stands out for its ease of use and emblematic Fleurier case, a true symbol of two centuries of watchmaking excellence. The ergonomic 42mmGrade 5 titanium or 5N red gold case provides optimal comfort no matter the size of the wearer's wrist, thanks to its slim profile (11.25mm) and its iconic real-sapphire-cabochon-topped crown and BOVET bow at 12 o’clock. In addition to clear and easily readable hours and minutes, this timepiece opens up the dial to display the in-house BOVET balance wheel and regulating organ, with its three-armrotating second hand and a 20-second Aventurine glass dial at 6 o'clock. On the right side of the world-time dial, which is pure Aventurine glass, is the power reserve indicator, highlighting the incredible and very useful seven days of power reserve with one single barrel. In fact, BOVET 1822 has a history of impressive power reserves, all due to the fact that Mr. Raffy is a collector and knows how important long power reserves are for complicated timepieces. The sapphire glass of the screw-down back lets collectors appreciate every detail of this finely finished manual-wind manufacture movement, polished, angled, and decorated like the House of BOVET’s high complications, thanks to the work of the in-house artisans he exhibition back is also a hallmark from the history of Maison BOVET: the BOVET brothers are famous for inventing the see-through cover during the 1800s to showcase their finely engraved movements. The House of BOVET is one of the few completely integrated manufactures in the watchmaking industry. Due to the fact that BOVET produces 95% of the components that go into its timepieces (the only things not produced in-house are the barrel springs, sapphire crystals and the straps), the House uses the term “Swiss Handcrafted” instead of “Swiss Made,” as the Swiss Made barrier, 60%, is too low. The Orbis Mundi suits today’s global society–even if we can’t travel as freely as we could before, it’s more important than ever to know what time it is anywhere and everywhere in the world. The Orbis Mundi from BOVET 1822, exemplifying uniqueness at its best. After 200 years of BOVET history, now more than ever, the world is yours.

Greubel Forsey continues to establish its new and assertive identity and unveils a new creation: the Double Balancier Convexe. This timepiece represents a highly technical and contemporary approach to Fine Watchmaking, showcasing the 6th Fundamental Invention by Greubel Forsey. The foundations are laid and development continues. After unveiling its Balancier Convexe S² (please see our coverage in January 2022 issue www.issuu.com/moralmoda/docs/royalvol3) with this new invention, Greubel Forsey adds a significant milestone to the history of watchmaking. The Double Balancier, patented in 2007, is one of them. It was first demonstrated in an EWT (Experimental Watch Technology) prototype, with two superimposed regulating organs inclined at 20°. A second iteration followed soon after, this time in a six piece unique edition with the two regulating organs positioned in different three-dimensional planes and inclined at 35°. Finally, in 2016, Greubel Forsey presented the invention in its current, double-patented form: the two balance wheels are dissociated, inclined at 30° and separated by a constant spherical differential which calculates their average timing rate. The three regulating organs (two balance wheels, one differential) occupy more than half of the dial and provide unprecedented depth. The timepiece is contrasting, highly technical and more contemporary than ever. AN ARCHITECTURAL MARVEL The timepiece gets its name from the convex profile of its 43.5mm titanium case. It’s plunging lines that hug the curve of the wrist raised significant technical challenges, requiring the sapphire crystal and above all the movement to adopt to this unique shape. This new composition showcases its movement spectacularly. The gear train emerges from below the surface of the seemingly semicircular black-treated titanium bridge and extends into the hour and minute hands which tower above it. The semicircle itself is rendered asymmetrical by an opening for the barrel cover, central hours and minutes indication, and by an opening which provides space for the small seconds indication below it. The engraved and lacquered minute indexes are nested within the three-dimensional chapter ring, but the polished hour indexes surpass it, plunging deep into the movement. Each hand has its own geometry, finish and color, depending on the role assigned to it. The hour and minute hands take on a curved profile and are filled with Super-Luminova, complementing that of the hour indexes. The small seconds and 4-minute hand indicating the rotational speed of the spherical differential are in polished blued steel while the power reserve is indicated by a polished and openworked hand with a red tip. A MARVEL OF HAND FINISHING In the lower half of the Double Balancier Convexe, each regulating organ is sculpted individually. The two balance wheels, although identical in shape and function, occupy different planes and thus offer a complementary spectacle. The center bridge is in itself a showcase of the creative excellence of Greubel Forsey: multi-level, openworked and black polished with several interior angles, it carries the hour and minute hands above the movement. The inclined escapement platforms are straight-grained with handpolished beveling and countersinks, while the differential bridge and balance wheel bridges are flat black polished with further hand-polished beveling. Every single component is hand finished to Greubel Forsey criteria and thus stands out on its own, and at the same time it contributes to the striking overall æsthetic of this timepiece. ASTONISHING APPROACH TO THE CONTEMPORARY DESIGN The bridges and mainplate of the Double Balancier Convexe are in frosted and black treated titanium. A new font has been adopted for the power reserve and different elements throughout this timepiece. On the barrel cover, we discover relief-engraved text, circular-grained with polished chamfer, describing the properties of the two coaxial barrels in series with rapid rotation (one revolution in 3.2 hours). They drive a 374-part movement, endowed with a 72-hour chronometric power reserve materialized by an openworked hand. The integrated and profiled lugs reinforce the compact and ergonomic character of this timepiece. They extend onto either a textured rubber strap or titanium bracelet. Last particularity: the Double Balancier Convexe, like most of the contemporary creations of the Atelier, is now water resistant to 100 meters – a detail that does not mislead on its vocation to be worn daily, in all circumstances. Only 22 Double Balancier Convexe timepieces will be made per year between 2022 and 2024 for a total of 66 pieces overall. See more on www.greubelforsey.com

Just a year after presenting the World’s First Double Triple- Axis Tourbillon in a Full Sapphire case, the Absolute Sapphire, Purnell continues to pursue its quest for excellence with this latest addition to its Escape II Collection. Please find more about this and all new watches presented in Geneva this week on www.Moralmoda.com

The next IMAGINE TURKEY Tourism event takes place in England, which is one of the important tourism markets of Turkey. IMAGINE TURKEY, which will be held at The British Museum, one of the most prestigious museums in the world in London, will bring you together with prominent Turkish hotel, health and MICE compa- nies. Within the scope of the event, where B2B meetings will be held, tourism professionals of both coun- tries will come together in the conference section. Our event will offer the opportunity to be informed about the tourism developments between the two countries. In addition, the event will contribute to establishing new business relationships, reinforcing and developing existing relationships. Stakeholder are invited to be among industry’s leading players at this month’s event, which will contribute to the tourism relations between Turkey and England. Turkish Tourism Sector Leaders from Türkiye and Tourism Service Providers from United Kingdom will have unique opportunity in London to meet face to face and create great Holiday options for British Travelers in Imagine Türkiye Conference. The event aims to contribute with new business opportunities based on latest Tourism Industry developments in both countries. Preliminary information about event and the gala evening to be held from 19 - 20 April 2022 is presented on www.imagineturkiye.co.uk

As the Watches and Wonders exhibition opens in Geneva, IWC Schaffhausen unveils a new TOP GUN collection. Highlights are chronographs in the newly developed “IWC Woodland” and “IWC Lake Tahoe” ceramic, inspired by the codes of naval aviation and the landscapes TOP GUN pilots fly over. DISCOVER NEW RELEASES: PILOT’S WATCH CHRONOGRAPH TOP GUN EDITION "WOODLAND" IW389106 (above) IWC had always embraced the pioneer spirit, facing the future today. Building on the brand’s owners’ mindset to bring value to the Web3 term "Diamond Hands", where it stands for nerves of steel and investment loyalty. With IWC Diamond Hand Club community the brand aims to explore the metaverse beyond the known rules. Building a holistic ecosystem and providing our community with interconnected benefits. To become a member, scan the QR code and claim one of 1’868 tokens today.