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Schneider Electric’s first Sustainability School opens for enrolment

  • The three-part programme, first developed for Schneider Electric employees, is now available for free for companies worldwide
  • Attendees learn how to future-proof their businesses and accelerate their decarbonization journeys

HONG KONG SAR – Media OutReach – 31 May 2023 – Schneider Electric, the leader in the digital transformation of energy management and automation, today announced that the Schneider Electric Sustainability School is open for enrolment. Free to access, the digital platform provides a range of interactive courses aimed at equipping companies and professionals with the knowledge and skills needed to improve their sustainability performance.

First launched internally to educate Schneider Electric employees to better support the company’s partner ecosystem, the three-part programme is now available externally for professionals and companies of all sizes, empowering them to take a first step towards a more sustainable future.

Decarbonizing the economy is a business opportunity

The 2015 Paris Agreement sparked a movement across the economy to reduce or eliminate carbon emissions. A recent Gartner survey found that 87% of business leaders expect their sustainability spending to increase in the next two years.

But despite this growing commitment to decarbonization, a sizeable knowledge and skills gap remains a barrier to progress. Furthermore, companies are increasingly relying on partners with expertise in the field of sustainability to support them in decarbonizing their operations.

Schneider Electric operates as an Impact Company, placing sustainability at the core of its business to achieve a positive, lasting impact on the planet and society. With Electricity 4.0 at the heart of programme, the Sustainability School compliments and strengthens this commitment, supporting partners in accelerating climate action across three core pillars: Strategize, Digitize and Decarbonize.

Recognizing that small and medium-sized enterprises (SMEs) often lack the knowledge and tools required to establish climate targets, measure impacts such as carbon emissions, and benchmark and disclose progress, the comprehensive training platform is designed to support them in embarking on their decarbonization journey. Over three chapters, it covers a range of topics from energy efficiency and renewable energy to the circular economy and sustainable transportation.

  • Chapter 1: Understanding sustainability and the risks involved [intake now open]

In the first chapter, attendees will learn the basics of sustainability, including the science and jargon behind it and why it is crucial for businesses to take environmental, social and governance factors (ESG) seriously.

  • Chapter 2: Discover how to take sustainable action as a company [Launching Q3, 2023]
The second chapter focuses on how SMEs can build a decarbonization strategy, including information on easy-to-implement tools that can support them in decarbonizing their own operations and that of their customers.

  • Chapter 3: Leverage sustainable skills to increase business opportunities [Launching Q1, 2024]

The third chapter summarizes the key knowledge and tools learnt throughout the programme – from energy efficiency to decarbonization – to support attendees in putting the theory into practice.

“The Sustainability School for partners is our big next move to prove that companies can not only do business that is better for the planet but can also fundamentally improve their performance by doing so,” Sorouch Kheradmand, Head of Partner Sustainability at Schneider Electric said. “We are proud to announce the launch of our new online courses, which are designed to educate and inspire individuals and organizations to adopt sustainable practices. Sustainability is at the heart of our business, and we believe that education is key to driving change and creating a more sustainable future.”

To embark on your sustainability journey, register for the Schneider Electric Sustainability School here.

Hashtag: #SchneiderElectric



The issuer is solely responsible for the content of this announcement.

About Schneider Electric

Schneider’s purpose is to empower all to make the most of our energy and resources, bridging progress and sustainability for all. We call this Life Is On.

Our mission is to be your digital partner for Sustainability and Efficiency.

We drive digital transformation by integrating world-leading process and energy technologies, end-point to cloud connecting products, controls, software and services, across the entire lifecycle, enabling integrated company management, for homes, buildings, data centers, infrastructure and industries.

We are the most local of global companies. We are advocates of open standards and partnership ecosystems that are passionate about our shared Meaningful Purpose, Inclusive and Empowered values.

Discover the newest perspectives shaping sustainability, electricity 4.0, and next generation automation on

Media OutReach Newswire announces expansion to Thailand

BANGKOK, THAILAND – Media OutReach – 31 May 2023 – Media OutReach Newswire, Asia’s first global newswire, has continued its expansion across the region, opening an eighth Asia-Pacific office in Thailand to cater to Thailand’s growing public relations industry.

The public relations industry in Thailand is growing at a rate of double digits, with Thai organisations and government agencies investing to build their brand reputation locally and internationally.

Media OutReach Newswire’s global press release distribution network offers an authentic service that connects our clients to journalists to build media relations, post their news on real media sites and reach investors through the companies news posting into all of the world’s financial services such as Bloomberg, Refinitiv Eikon, Dow Jones Newswire, Factset, Infront, Morningstar and international news terminals Reuters News Agency, Associated Press (AP) and Agence France Presse (AFP).

In addition, Media OutReach Newswire offers expert advice on clients’ news releases to better communicate their message to international media.

The Thai team will serve a growing number of Thai-based clients to reach the media in Thailand and internationally.

“Since the launch of our service we are pleased to share that we are supporting clients from many industries such as business, cryptocurrency, education, finance, property, technology, travel & hospitality, start-ups, government agencies, SMEs and lifestyle industry among others,” says Jennifer Kok, Founder and CEO of Media OutReach Newswire.

“Thai clients who are looking to expand their presence across the Asia-Pacific region and globally through Media OutReach Newswire’s comprehensive global press release distribution network appreciate that they have insights that tell them how many journalists are reading their news release, including garnering write-ups and receiving media inquiries.

“Our services are aimed at providing an efficient and effective communication network that allows our clients to have PR campaign performance insights with meaningful reporting and conversations with their C-Suites and stakeholders,” Jennifer Kok added.

Media OutReach Newswire has been investing to build a comprehensive press release distribution network in Thailand with a journalist database built in-house by our media research team to guarantee news postings on quality Thai media. This strategic expansion will also provide Thai organisations with unlimited access to more than 400 trade media news categories, guaranteed news posting on more than 500 leading and quality online news media and post-release reports created in a format that PR professionals can download for immediate use.

“We understand the communication goals of PR professionals who want a newswire that helps them to better reach out to the media. Our distribution networks include journalists from newspapers, trade media, online media, broadcast media and influencers as well. We are pleased to have received feedback from our Thai clients that they are so pleased with the write-ups generated from journalists without pitching and their SEO has improved from using our press release distribution service,” Jennifer Kok added.

Thailand is one of 26 countries across the Asia-Pacific region where Media OutReach Newswire has built a comprehensive press release distribution network. Media OutReach Newswire is in a strong position to help Thailand clients distribute their press releases to real journalists effectively and efficiently whether they are building their brand reputation in Thailand, across Southeast Asia, Asean or Asia-Pacific and internationally.

Arinya Talerngsri, Founder, Managing Director and Chief Capability Officer at SEAC who engaged Media OutReach Newswire to support their global brand building campaign, says their services have already proved to be a hugely successful tool in supporting the company to engage with the media in their expansion into Europe, USA, Canada and Asia-Pacific.

“We have been impressed with the level of earned coverage by journalists where our press release has garnered without pitching. An additional benefit we found was our company’s organic SEO search ranking after partnering with Media OutReach Newswire. The newswire post-release reports have provided us with insights into the level of media engagement across our target markets. With these insights we are able to shape our global communication strategy,” Talerngsri says.

Patcharin Pattanabunpaiboon, Executive Editor of Creative Thailand Magazine at Creative Economy Agency, organiser of Bangkok Design Week, says having a partner like Media OutReach Newswire has played a crucial role in supporting the agency to generate awareness about Bangkok Design Week in their target market across Asia-Pacific.

“Their extensive network and deep understanding of the media landscape in APAC have enabled us to reach a wider audience and secure valuable earned media coverage by journalists,” she says.

“Media OutReach’s strategic press release distribution approach which allows us to pay a single fee to reach unlimited targeted news categories has helped us to reach all our targeted media within our budget. Their service has contributed significantly to our public relation efforts to build awareness and interest for the success of Bangkok Design Week.”

Pattanabunpaiboon added their office would continue to engage Media OutReach Newswire for their communication programs with future projects.

“We value their strategic counsel, media network and ability to effectively communicate our brand’s message to the right journalist audience. Building a long-term relationship with Media OutReach Newswire aligns with our goals of establishing a strong brand presence in the Asia Pacific market and maintaining a positive relationship with the media.”

Hashtag: #MediaOutReachNewswire

The issuer is solely responsible for the content of this announcement.

About Media OutReach Newswire

Launched in 2009, Hong Kong-based Media OutReach is the first global newswire founded in the Asia-Pacific region with offices in Singapore, Malaysia, Vietnam, Japan, China, Thailand, and Taiwan.

As a pioneering global newswire agency and the voice of Asian companies, Media OutReach is the only press release newswire that owns its distribution network in 26 countries across Asia-Pacific region. Our network of media assets includes more than 140,000 journalists, 400 trade categories, 65,000 media titles and partnerships with more than 500 authentic and leading real media sites.

With proprietary SAAS technology at our core, we distribute multi-language and multimedia press release content directly to the inbox of editors and journalists to optimise coverage, build media relations and provide pioneering insights on PR campaign performance. Our guaranteed online news posting turns our clients’ release into organic stories on our online media news sites.

For more information about Media OutReach’s services and distribution network, please visit .

Laos to Provide Over 300,000 Employment Opportunities Next Year

Workers in Laos.

The Ministry of Labor and Social Welfare expects to provide training and employment for more than 300,000 workers nationwide.

ARTEX MTF AG : Francis Bacon to be the first artist traded on ARTEX

Francis Bacon’ to Be the First Artist Traded on Artex with Three Studies for a Portrait of George Dyer

London, UK – EQS Newswire – 31 May 2023 – ARTEX MTF AG (“ARTEX MTF” ― www.artex-stockexchange.com) announces that the first artwork to be admitted to trading is the ‘Three Studies for a Portrait of George Dyer’ (the “Artwork”), an oil on canvas triptych painted by British artist, Francis Bacon in 1963. It belongs to a unique series of five Dyer portrait triptychs that Bacon created between 1963 and 1969 at the height of his career. This portrait is the first of its series of Dyer who would go on to become Bacon’s greatest muse. It sold at auction in May 2017 for nearly $52 million and will be offered to investors at an attractive valuation starting at around $55 million.

The Artwork to be listed by Art Share 002 S.A. (the “Issuer”), a public limited liability company incorporated in Luxembourg, is a securitisation vehicle governed by the Securitisation Law of Luxembourg. The Issuer facilitates the offering to the public in the form of ordinary shares with a nominal value of $100, which will be regulated, liquid and tradeable on the ARTEX MTF.

The Issuer filed a Listing Prospectus on the 19th of May 2023 with the financial regulator of Luxembourg, the Commission de Surveillance du Secteur Financier. The Listing Prospectus will be published on www.artex-stockexchange.com at the start of the pre-marketing phase. It relates to the admission of trading and listing on the ARTEX MTF market, a Multilateral Trading Facility (“MTF”, as defined within the MiFID II regime) regulated by the Liechtenstein Financial Market Authority, of class B EUR shares of the issuer.

The Issuer intends to initially list on ARTEX MTF 385,000 class B EUR shares corresponding to 70% of all class B shares, at a price in EUR equivalent to USD 100 per share, through a secondary offering only (the “Offering”). The Offering is only available through the placement agents (banks and brokers), who have been appointed by the Issuer pursuant to the placing agreement. The investment opportunity shall be presented to potential investors during the pre-marketing phase, which may last up to 4 weeks, and which is expected to happen between 19th of June 2023 and 19th of July 2023. The book building phase is then expected to start on 5th of July 2023 and to end on 20th July 2023. Finally, it is expected that the admission to trading will become effective and that dealings will commence on 21st July 2023, under the symbol “BAC1EU” and International Securities Identification Number (“ISIN”) LU2583605592. The final terms of the Offering and the admission to trading will be published once the placement is concluded on www.artex-stockexchange.com.

H.S.H. Prince Wenceslas of Liechtenstein, ARTEX Co-Founder and Chairman stated: “To offer a masterpiece by Francis Bacon as the first listing on ARTEX is a great privilege but also a responsibility. Three Studies for a Portrait of George Dyer is one of the most famous triptychs in modern art history, realised at Bacon’s artistic peak, during a particularly turbulent and productive period in his life. Bacon is the first artist to be brought to the public by ARTEX. To fulfil this responsibility, ARTEX needs to operate a fair and fully transparent trading venue that is accessible and protective of all. ARTEX operates under one of the most rigorous regulatory frameworks to foster a high level of trust. For investors to see more iconic artworks be traded on the ARTEX stock exchange in the future, trust is essential.

Yassir Benjelloun-Touimi, ARTEX Co-Founder and Chief Executive Officer, commented: “We are delighted to offer this masterpiece from one of the most successful 20th century artists, in a city that inspired him so much. Bacon’s innovative drive led him to reinvent the genre of portraiture, through a unique realism, challenging painting in the photographic age. As he received strong public and institutional recognition during his life, the price for most of his work remained beyond the means of most people. ARTEX is bringing the opportunity not only to revisit his legacy but to finally make his work accessible for all. More content about his life and work can be explored through our dedicated upcoming website Artodyssey.”

The ARTEX MTF offers a continuous trading model in connection with auctions. It starts with an opening auction, followed by continuous trading via a central limit order book. Then,trading ends with a closing auction. The MTF participants consist of members and market makers in accordance with regulation and facilitate the trading of shares by the Issuer to trade with a certain liquidity.

ARTEX has secured partnerships with well-established stock exchange infrastructure service providers to ensure a seamless trading experience and a robust trading platform. SIX will provide services relating to clearing as well as market data feed whilst settlement will happen through the bridge offered via Euroclear and Clearstream. UnaVista, an LSEG business, will support ARTEX in fulfilling its information exchange and reporting to the relevant supervisory bodies.

Rothschild & Co is acting as financial advisor to ARTEX in relation to the IPOs of the artworks.

About the artwork: Three Studies for a Portrait of George Dyer

Three Studies for a Portrait of George Dyer (1963) belongs to a unique series of five portrait triptychs that Bacon created between 1963 and 1969. Not only is the painting in question the first of the series, but it is also the very first of many portraits that Bacon painted of his greatest muse, a few months after they had met.

The work displays three views of Dyer’s face slightly under life-size, in this intimate 35.5 x 30.5 cm format that Bacon had just initiated a year before painting this triptych, and that he would continue employing from this point onward. The central panel is a front view of the figure – as it usually is in Bacon’s small head triptychs – flanked with three-quarter views of the left and right sides of Dyer’s face that appear as almost symmetrical.

Set against a dark background, the figure of Dyer emerges from the darkness of his own psyche. Shaped by dynamic brushstrokes, the shifting faces are rendered in a semi-abstract blur; however, they remain recognisable. Severely contorted, they reveal Dyer’s mental anguish and relate to Bacon’s general concerns about the human figure, as a means to reveal even more so the mortality and transience of life.

More reminiscent of muscle and tissue than skin, these representations emphasise Bacon’s fascination by the fact that body is simply meat. This carnal quality is typical of the artist’s work. In the present painting, Bacon paid particular attention to the treatment of the flesh, mostly by using a varied colour palette that ranges from white, carmine, and pink to green, grey, and brown. Only from that moment in time, has Bacon started to focus on the potential of colour, whereas from the late 1940s through to the mid-1950s, the rendering of flesh was mostly monochromatic in his work. In the early 1960s, his artistic style evolved, and his technique reached new heights. The dynamic, vigorous, and fluid brushstrokes featured in the present work mark a shift in Bacon’s practice and demonstrate the artist’s masterful handling of paint.

Three Studies for a Portrait of George Dyer is a prime example of Bacon’s artistic peak. It was executed in 1963, when the painter was enjoying an intensely busy career and his own personal highlights. Moving into his Reece Mews studio in 1961 – where he would continue working until his death – brought him a certain stability. Besides, beyond receiving increasing institutional recognition, his work started to be praised by the public, as evidenced by a first retrospective at the Tate Britain in 1962, that travelled to the Solomon R. Guggenheim Museum in New York in 1963. That year, he met George Dyer who would be his inspiration for his most powerful works. As a result, Bacon’s paintings became more sophisticated and reached maximum intensity, as shown by the present painting.

This triptych reflects how Bacon transcended his sources. He used the images of Dyer he had commissioned from Vogue photographer John Deakin as a starting point. Bacon’s painterly technique, that can be evidenced here, imparts a strong sense of movement, perhaps evoking the dissolution of the figure with morbid sensitivity.

Among the series of five head portrait triptychs depicting Dyer, the work in question is one of two that feature a dark background, whereas the others show a pink, violet, or beige ground; and is the only one that portrays him without his white collar, as if the heads were disembodied and deprived of any spatial or temporal reality. Almost symmetrical, the present triptych is the more balanced of the series in its composition. Less diluted than in the others, the heads sustain greater details that give it a sharp, almost more vigorous aesthetics.

This painting is a rare example of Dyer’s portrait in this intimate format, that is highly charged with emotion, almost recalling a private, devotional object.Also, the seriality that was dear to Bacon is multiplied here, given this painting is in a triptych format that belongs to a series of five.

Provenance

– Marlborough Fine Art Ltd, London
– Roald Dahl, Great Missenden
– Waddington Galleries Ltd, London
– Private collection, Paris
– Christie’s NY, 17 May 2017, Lot 38 – B
– Private collection (acquired at the above sale)

Exhibitions

– British Paintings 1945-1970, Kunstnerforbundet, Oslo; Kunstforening, Trondheim; Kunstforeningen, Bergen; Museum Narodowe, Warsaw; Museum Narodowe, Poznan, and Museum Narodowe, Krakow, January-July 1972, n.p., no. 10 (illustrated).
– Bacon-Freud: Expressions, Fondation Maeght, Saint-Paul-de-Vence, July-October 1995, pp. 46-47 and 204, no. 11 (illustrated in color).
– Wounds: Between Democracy and Redemption in Contemporary Art, Moderna Museet, Stockholm, February-April 1998, vol. 1, p. 171; vol. 2, n.p. (illustrated in color).
– Francis Bacon: Le Sacré et le Profane, Fondation Dina Vierny-Musée Maillol, Paris, April-June 2004, pp. 112 and 157 (illustrated in color).
– Francis Bacon: Portraits and Heads, Scottish National Gallery of Modern Art, Edinburgh, June-September 2005, pp. 60-61, no. 29 (illustrated in color).
– Francis Bacon. Die Portraits, Hamburger Kunsthalle, Hamburg, October 2005-January 2006, p. 73, no. 28 (illustrated in color).
– Francis Bacon: A Centenary Retrospective, Tate Britain, London; Museo Nacional del Prado, Madrid, and Metropolitan Museum of Art, New York, September 2008-August 2009, pp. 186 and 280 (illustrated in color).

Portraits of George Dyer in Francis Bacon’s artistic production

In the aftermath of the war, while many artists turned to abstraction, Bacon chose to investigate against prevailing trends. His creative output largely relates to the human figure and is mostly made up of portraits – a genre that was quite unpopular at the time.

His purpose was not only to represent the physical appearance of his models, but also to explore them psychologically and to convey their very essence. These depictions also served as vehicles to address the fundamental issues of the human condition and, above all, its sense of mortality. Through this unique realism, Bacon was also looking to challenge painting in the photographic age. As a result, Bacon completely reinvented the genre of portraiture.

Divided between full-length figures and head formats, Bacon’s portraits predominantly depicted his close friends and lovers. Among them, George Dyer has a very important part. The pair met in late 1963 and shared a passionate but also tormented relationship for almost a decade. Bacon was immediately drawn to this young, seemingly strong but fragile character with a history of petty crime. Dyer’s harmonious proportions and good looks were a constant source of inspiration for Bacon who sought to immortalise his appearance but, above all, his tormented psyche. Dyer soon became the most influential personality in Bacon’s private and artistic life. His figure dominated Bacon’s paintings from the 1960s, as the artist was exploring the genre of portrait more than ever. Dyer remained a major subject of Bacon’s work after his death in 1971. Two days prior to the opening of the artist’s most important exhibition in his lifetime at the Grand Palais in Paris, he was found dead in their hotel room, leaving Bacon racked with grief and guilt.

Dyer left a permanent mark on the artist, unlike any other of his muses and lovers. He appeared in more than 40 paintings over the course of Bacon’s career, whether it be large or small and intimate canvases. It was around the time they met, in the early 1960s, that Bacon set up a habitual structure for his portraits: either the small format of 35.5 x 30.5 cm for his heads or the grand scale of 198 x 147.5 cm for his full-length figures. These canvases would either stand alone or be grouped in two or three to form respectively diptychs or triptychs.

As Bacon stated in 1979, “Triptychs are the things I like doing most”. Indeed, Bacon’s triptych paintings, both epic and intimate, have largely defined his career. He started doing small head triptychs with each panel measuring 35.5 x 30.5 cm in 1962, a year before painting Three Studies for a Portrait of George Dyer, right after he had learned that his then-lover Peter Lacy had died on the day of the inauguration of his first retrospective at the Tate Gallery in London. The triptych format – that he borrowed from religious art – attracted him most for its seriality, which is an important aspect in Bacon’s oeuvre. Indeed, he would widely produce variations on the same subjects throughout his career, such as his Popes, men in suits or his van Gogh paintings. When set in triptychs, which he considered to be “the most balanced format”, the different variants arguably recall Eadweard Muybridge’s photographic studies of the figure in motion that widely inspired the painter. As regards to portraits, the triptych format allowed him to show different aspects of the same face, as is the case with Three Studies for a Portrait of George Dyer or to depict different people.

Bacon famously worked in isolation from his sitters to have the flexibility to distort their appearance as much as needed. Therefore, he had to rely on both photographs and his own memory. In the case of Dyer, he compulsively collected a hundred photos which were later found in his Reece Mews Studio. He had commissioned them from his friend, Vogue photographer John Deakin, and used them as a starting point for all the portraits he made throughout the 1960s and the 1970s, such as Three Studies for a Portrait of George Dyer. He then focused on deforming his subject to capture his essence, conveying an expressive force that mostly originated from the artist’s own emotions.

About the artist: Francis Bacon

Francis Bacon (1909-1992) is one of the most successful painters of the 20th century, marking undoubtedly the history of art. Away from the growing tendency of his time towards abstract art, the painting of Francis Bacon defies any classification. Instead, Bacon created a unique artistic style on the border between abstraction and figuration. This singularity requires a special treatment, falling outside of historical and stylistic patterns. Besides, Bacon was self-taught and did not receive any proper training. Yet, his work was instantly acclaimed by scholars and historians, as well as the public, for its distinctive and disturbing realism.

In the aftermath of the war, his painting reflects on humanity’s frailties and imparts an existential anguish, that was also rooted in his own personal experience. Above all, Bacon revolutionised the genre of portrait that allowed him to convey the psychological state of his subjects in addition to representing their physical appearance.

Francis Bacon was born in Ireland in 1909 and deceased in Madrid at the age of 83. He was of a generation that went through two world wars and witnessed the violence generated by deep political tensions. His father, Captain Anthony Edward Mortimer Bacon, served in the army and later worked in the War Office during World War I. His job certainly alerted the young Francis Bacon to the threat of violence, preventing him from living a quiet childhood. Bacon’s mother, Christina Winifred Firth, was heiress to a Sheffield steel business and coal mine. She lived the life of a socialite, while her son, who suffered from asthma, was often left to his own devices. Family relationships became more complicated as Bacon was dealing with his emerging homosexuality which was never accepted by his father. He was expelled from the family home in 1926, at only 16.

Bacon left his rural Ireland and moved to London on an allowance of £3 a week from his mother. Although he was in severe economic difficulty, he could survive by doing various jobs as a secretary and cook. In 1927, he left for Berlin at the suggestion of his father, who entrusted him to a relative in an unsuccessful attempt to make him change. He later stayed with a French family near Chantilly. There, he discovered museums and galleries, and started to take a definitive interest in art. He spent the next year-and-half in Paris, where he saw the exhibition ‘One Hundred Drawings of Picasso’ and from that crucial moment, he started to conceive his first watercolours and drawings.

In 1929, he left for London and started a career as a decorator and designer, which allowed him to acquire notoriety and an interesting clientele. Nevertheless, he abandoned the design field to focus on painting as early as the following year. This radical move was encouraged by his participation in an exhibition with Jean Shepeard and Roy de Maistre – his most influential artistic contacts in the 1930s.

In 1933, Bacon produced his first significant paintings, including notably The Crucifixion. It was immediately exhibited at the Mayor Gallery, purchased by Sir Michael Sadler, and reproduced in Herbert Read’s Art Now. From this moment on, as many satisfactions as disappointments were to follow, making Bacon’s relationship with art rather tormented. In the following years, although Bacon was artistically inspired, he destroyed almost all the paintings he had produced out of self-criticism. Only from the end of the 1950s did he allow an important quantity to survive.

The reactions of the public were varied: some did not appreciate Bacon’s excesses, while others immediately understood his potential. In 1948, Alfred Barr acquired Painting 1946 from Brausen for the Museum of Modern Art, New York, marking the beginnings of Bacon’s international recognition. In November 1949, German art dealer Erica Brausen organised the artist’s first solo show at the Hanover Gallery. On this occasion, the art critic Robert Melville, who was also an early biographer of Picasso, published an article in Horizon which identified Bacon as a major artist.

Early established as one of the leading post-war painters, Bacon’s success would only grow over the decades. Throughout the 1950s, he participated in numerous other events that contributed to the development of his career internationally, such as the Venice Biennale in 1954. However, it was at the turn of the 1960s that he made a real breakthrough: on the 16th of October 1958, he signed a contract with Marlborough Fine Art that acted as his representative dealer for the rest of his life. He also set up a studio at 7 Reece Mews in 1961 where he would continue to work until he died.

The sixties proved to be the most important decade in Bacon’s artistic career. His work had attracted both gallery owners and art dealers and started to be demanded by the most prestigious museums. In 1962 he had his first major museum retrospective at the Tate Gallery in London, which later travelled to the Solomon R. Guggenheim Museum in New York. Bacon’s oeuvre also started to attract the attention of the most established artists, such as Pablo Picasso who was fascinated by the catalogue and went to see the exhibition in London. That same year, David Sylvester, a British art critic and curator, began making a famous series of interviews with Bacon on BBC Radio, favouring his promotion.

Furthermore, new sources of inspiration enriched his artistic musing, as he met George Dyer in 1963. Dyer became his companion, but also the protagonist of his most successful works conceived between the 1960s and the 1970s.

Bacon’s work spread more and more around the world thanks to a constant exhibition activity. On his second retrospective at the Tate Gallery in 1985, the then director Sir Alain Bowness had so much appreciated his work, that without hesitation, he defined him as “The greatest of living painters”.

Aggravated asthma caused Bacon severe breathing problems, and he eventually died of a heart attack in 1992 in Madrid, leaving behind an eternal artistic legacy.

Market analysis

A dominant figure of the British art scene, Francis Bacon was already recognised during his lifetime as one of the most important painters of the 20th century by museums and scholars. The development of his market followed the same trend, making Bacon the highest valued post-war artist at auction, when his Triptych 1976 sold for $86.2 million in 2008. Since his death in 1992, three of his works have set records for the artist. The current one is held by Three Studies of Lucian Freud (1969), that was sold for $142.4 million in 2013. At the time, it became the most expensive artwork to ever sell at auction; it has then moved to the seventh position.

The total sales revenue for Bacon’s market over a period ranging from 1986 to November 2021 amounts to $3.4 billion. Paintings by Bacon of the greatest quality belong to the High-End of the Post-War and Contemporary market and are sought after by the most prominent collectors in this field, when they are not already part of major public collections and institutions worldwide.

Only a rough 580 paintings survive today in Bacon’s production, as he used to destroy his own works out of self-criticism. Out of a few 90 iconic paintings by the artist, 54 are currently held in private collections – including the present work –, while the remaining 36, accounting for 40% of that sample, are part of public collections. Therefore, the bulk of Bacon’s oeuvre remains mostly in private hands today: a favourable situation allowing the market to sustain its development, although the total number of works is rather limited.

Institutions have been actively committed around Bacon’s oeuvre, which ensures stability and durability to his market. Their ongoing support also rests on recurring exhibitions. The most recent solo shows were held at the Royal Academy of Arts, London in 2022, as well as the Centre Pompidou, Paris in 2019-2020, and the Museum of Fine Arts, Houston in 2020. Such major events – that generate new research and discoveries on Bacon’s oeuvre and prompt a surge of public interest – are expected to have profound effect on the market, with works increasing in value.

Besides, the publication of Bacon’s catalogue raisonné by Martin Harrison in 2016, after ten years of endeavour, also plays an important part in strengthening Bacon’s market. Acting as a cornerstone, it casts a new light upon the artist’s production as a whole and builds greater confidence in the authentication process of his works.

Although works by Bacon come to the market on a recurring basis, only 191 paintings have been offered at auction over the reference period from 1986 to November 2021. A succession of major works was put up for sale since the 2000s causing Bacon’s market to rise with escalating values.

Bacon’s market is dominated by high value sales, with a share of 35% by value made by works with actualised prices above $10 million, accounting for 83 lots sold over the reference period. Among these works, 65 were sold between $10 million and $50 million (all prices are actualised unless a specific sales date is mentioned), which accounts for a share of 27% by value; 16 works sold between $50 million and $100 million, representing 7% by value; and 2 works sold for over $100 million, accounting for 1% of Bacon’s market by value.

This market has remained steady until now for top-end works, with the highest prices mostly achieved during two peaks: in 2007-2008 and 2013-2014. Over a period from 2007 up until November 2021, 29 paintings were sold above an actualised price of $40 million. 14 of these works were sold during the two peaks that experienced a supply spike, and the remaining 12 found buyers over the rest of the period, except during the years 2009-2010.

In 2020, right in the middle of the pandemic, inspired by the Oresteia of Aeschylus (1981) was acquired for a price of $84.5 million with an actualised price of $93 million. It became the third most expensive work by the artist: a record implying that the market has remained solid for paintings of the highest quality, which are always in demand.

The paintings that perform the highest prices share almost each time a large-scale format (9 out of 10 most expensive lots sold); a triptych format (6 out of 10 most expensive lots sold); a creation date between 1960 and 1969, as the most important decade in the artist’s career (5 out of 10); and a known sitter, with the most valuable being George Dyer and Lucian Freud (5 out of 10; 3 being of George Dyer).

The present work, Three Studies for a Portrait of George Dyer, was brought to auction on one occasion, selling for $52 million in 2017. Therefore, it ranks ninth among Bacon’s most expensive paintings at public sale and achieved an auction record for a small triptych by the artist. Considering its 2017 sale, this single artwork represents a share of 1.7% of Bacon’s total sales revenue by value over the reference period.

Bacon made 40 or so small portrait triptychs that represents just 7% of his existing oeuvre – and they are rarely put up for sale. Only 19 distinct small triptychs have been brought to auction until today, nine of which were executed in the 1960s and three of which depict George Dyer including the present work. Among these existing triptychs, only five depict George Dyer: a unique series that remains partly in private hands, since two of these paintings are already part of museum collections (the Tel Aviv Museum of Art and the Louisiana Museum of Art, Humlebæk). Three Studies for a Portrait of George Dyer is a rare example of Bacon’s moving tribute to his muse in this intimate triptych scale still available for acquisition.

Iconic works by Bacon come occasionally at auction, and their public offering always generates record prices, given the ongoing demand for them. In June 2022, Study for Portrait of Lucian Freud was one of the top lots of Sotheby’s Jubilee auction taking place in London. Acquired for $52 million, it was the most expensive contemporary painting sold in London since 2014 and confirmed the strong interest for Bacon’s most important paintings. As per Art Tactic’s review on the Art Market in 2022, the top three artists in the modern art segment are Pablo Picasso with $388.8 million in auction sales, ahead of Francis Bacon with $224.9 million, and Rene Magritte with $191.5 million.

The issuer is solely responsible for the content of this announcement.

About ARTEX

“ARTEX MTF” operates a secure and liquid art shares exchange, regulated and supervised by the Financial Markets Authority of Liechtenstein within the European MiFID II legislative framework. Providing easy access to a traditionally exclusive fine art market, ARTEX aims to democratise investing in artworks from the world’s greatest masters, spanning a period from the Renaissance to the twentieth century. ARTEX-listed masterpieces will be on public display, in museums and exhibitions around the world. ARTEX will strive to empower investors by offering the latest news, market insights and educational content to level the playing field in art investing. ARTEX was co-founded in 2020 by art enthusiasts and financial markets experts H.S.H. Prince Wenceslas of Liechtenstein and Yassir Benjelloun-Touimi. For more information about ARTEX, please visit .

“ARTEX MTF” is a Multilateral Trading Facility operated by ARTEX MTF AG, a Company incorporated in the Principality of Liechtenstein under company number FL-0002.682.571-2 with registered offices at Aeulestrasse 24 9495, Triesen, Liechtenstein. ARTEX MTF is regulated by the Financial Markets Authority under reference number

Laos to Brace for Sweltering Heat Throughout This Week

Hot Weather to Continue in Laos All Week
Sun shining upon floating huts in Vientiane Capital (photo: awaygowe)

Hot weather will persist across Laos for the entire week, predicts the Department of Meteorology and Hydrology.

TRON MainNet’s Fifth Anniversary: A Landmark in the Rise of a World-Leading Public Chain

NEW YORK, USA – Media OutReach – 31 May 2023 – On May 31, TRON celebrated the fifth anniversary of its MainNet launch since its debut in 2018. The TRON ecosystem is now on a roll after five years of development. Impressing the industry with one achievement after another, it has grown into a leading public chain in the world. Against the ever-fiercer competition among public chains around the world, TRON has stood out with its second-to-none performance, scalability, and security, attracting masses of developers and users worldwide. Following TRON’s anniversary, the Hong Kong’s Securities and Futures Commission (SFC) will begin accepting applications for crypto trading platform licenses on June 1. As a top-tier public chain with a Chinese background, TRON has promised full support for Hong Kong’s efforts to develop Web 3.0.

Build a sound ecosystem with industry-wide collaboration

TRON was founded by Justin Sun in 2017, and its MainNet went live on May 31, 2018. Five years into the launch of its MainNet, TRON now has over 162M users worldwide and has processed to the tune of 5.6B transactions. It also outshines the pack with a TVL (Total Value Locked) of $5.76B, only trailing Ethereum.

TRON has contributed to an open, established ecosystem via partnerships across the industry. Judging from its high-level design, TRON has developed a robust stablecoin ecosystem comprising USDT, USDC, TUSD, USDJ, and USDD, which supports a whole gamut of compliant and decentralized stablecoin-related businesses with high circulation and collateral ratios.

According to the data on Tether’s website, the circulating supply of TRC20-USDT has exceeded 46.1B, way higher than that of ERC20-USDT (36B), accounting for 60% of USDT’s total supply.

Meanwhile, TRON is also working towards building a diversified stablecoin network and a sounder public chain ecosystem for users through its sustained efforts to grow the business of USDC, TUSD, USDD, and USDJ, among other stablecoins.

Powered by a secure, cost-effective, and efficient underlying blockchain, the TRC-20 protocol launched by TRON has become the go-to choice among on-chain users. In addition, TRON has developed a well-rounded ecosystem covering the hotly contested fields in the sector, including NFTs, GameFi, stablecoins, the metaverse, cross-chain solutions, and DIDs, with the commitment of a group of active developers.

According to Justin Sun, TRON aims to elevate its on-chain stablecoin market cap to $100B in 2023 and strives to become the preferred choice for stablecoin users by positioning itself as “a more affordable and user-friendly version of Ethereum”.

Make strides towards globalization and full compliance

TRON is committed to maintaining full compliance with regulatory requirements and works closely with governments and regulators worldwide to achieve this goal. Putting compliance at the front and center, TRON delves into local regulations and proactively engages in discussions on policy formulation and industry standards, ensuring that its ecosystem grows robustly while remaining fully compliant.

With branches in North America, Europe, and Asia-Pacific, TRON has a global presence in numerous countries and regions. Additionally, it has established solid cooperation with financial regulators in multiple countries to facilitate compliance within the digital currency and blockchain industry.

In October 2022, seven existing TRON-based tokens were granted statutory status as authorized digital currencies in Dominica, and TRON was designated as the national blockchain for the country. This collaboration blazed a trail for blockchain projects to explore technology application and development with sovereign countries. Subsequently, TRON also expressed its good will to forge a comparable partnership with Sint Maarten, as well as other countries and regions.

On top of that, TRON has obtained the go-ahead from a number of key regulators across the globe by virtue of its technical prowess and global compliance strategy. In September 2021, TRON listed TRX ETN jointly with VanEck, the world-leading asset management firm, on Deutsche Börse and facilitated its trading on the major exchanges in 14 European countries. Outside Europe, TRON has expanded its presence in the Asian and North American markets, laying a strong foundation for its global service. In 2022, Hong Kong outlined a new crypto licensing regime, and TRON is poised to fully support Hong Kong’s Web 3.0 development.

Justin Sun expressed his confidence that TRON will delve deeper into blockchain technology and the blockchain industry, thereby playing its role in building a secure, efficient, and decentralized world of Web 3.0 and propelling the global digital economy forward.
Hashtag: #TRON

The issuer is solely responsible for the content of this announcement.

BOL Shares New Credit Policy to Stimulate Lao Economy

BOL to Disseminate New Credit Policy In Order to Stimulate Lao Economy
Governor of BOL, Mr. Bounleua Sinxayvoravong. (Photo: Pasaxon )

The Bank of Lao PDR convened a meeting at the Prime Minister’s Office on Tuesday to discuss implementing a new credit policy aimed at revitalizing the Lao economy.

Thailand’s Tourism Authority Keen on PM Candidate Pita Limjaroenrat as New Ambassador

Thailand’s Tourism Authority Eyes Pita Limjaroenrat as New Tourism Ambassador
Photo Credit: Pita Limjaroenrat's Instagram account

The Tourism Authority of Thailand (TAT) is planning to approach Pita Limjaroenrat, the leader of the Move Forward party who won the May 2023 elections, to become the tourism ambassador for the “Land of the Smiles” to attract young foreign tourists.