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moccona rich 9 An Italian renewable energy giant and Japan’s largest oil and gas company are plugging into Australia’s clean energy resources under the banner of a new company. Potentia Energy will be launched at the Sydney Opera House on Monday as an Australian renewable energy firm co-owned by Rome-headquartered Enel Green Power and INPEX. With rights in place for a development pipeline of over seven gigawatts across the country, Potentia is most focused on developing and acquiring assets in NSW, Queensland and Western Australia, chief executive Werther Esposito told AAP. The company is not deterred by the risk of political change, with opinion polls favouring the coalition ahead of the 2025 federal election. “The energy transition will go ahead in any case. There could be an acceleration or slowing down in the process,” Mr Esposito said. “Renewables represent, from a technical and economic perspective, the solution for climate change,” he said. “I don’t think any government could deny that today wind and solar are cheaper than other technologies, and are faster in reaching the phase of deployment and construction and then supply of renewable energy.” NSW had suffered some planning delays that had hit investment but there had been a “strong improvement” in the past 12 to 18 months, he said. The company also has a stake in Queensland, particularly in the north’s Copperstring area, where the recently elected LNP government has pledged to stick by a massive transmission project begun under Labor. Enel won the bidding in 2024 to develop renewable energy to power a vanadium mining and processing project, which is one of a number of giant resources projects intended to be connected to the $9 billion Copperstring transmission line from Townsville to Mt Isa. WA offered a “huge opportunity” for the deployment of wind farms and battery energy storage systems, Mr Esposito said. With a decades-long footprint in Australia’s north and west, INPEX is Japan’s largest fossil fuel exploration and production company. Under pressure to reduce its global contribution to climate change, INPEX is already developing the production of liquid hydrogen and ammonia. “They elected Australia as the market to start diversification of the energy mix and huge investment in renewables,” Mr Esposito said. “Of course in this regard, Australia is the place to be,” he said. Enel and INPEX joined forces in a share purchase agreement in 2023, with the renewables business operating plants comprising 310 megawatts of solar capacity across South Australia and Victoria and a 75MW wind farm in Western Australia. A 93MW solar farm is under commissioning in Victoria and financial close was recently announced for a hybrid 98MW solar and 20MW battery project in NSW. But with international firms lining up to exploit clean energy resources, Australians living alongside projects are demanding a share of future profits through community funds, power bill rebates and other benefits. “The energy transition should be just. To be just it means that you need to support the communities and involve the communities in a proper way,” Mr Esposito said. He said Enel was proud of its legacy in providing support to areas facing a changing landscape and the impact of new infrastructure, including community funds, a focus on local hiring and providing training to support new jobs. “It’s an approach that is, for us, absolutely a pillar of our strategy,” he said. “We are still facing some regulatory ambiguity in what a social licence means, and we are trying to be a leader in the industry in helping and supporting all the key stakeholders in determining and defining what it is.”None

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Support Independent Arts Journalism As an independent publication, we rely on readers like you to fund our journalism. If you value our coverage and want to support more of it, consider becoming a member today . Already a member? Sign in here. Support Hyperallergic’s independent arts journalism for as little as $8 per month. Become a Member Recently, I’ve entered my 11th year as a gallery guard at the Seattle Art Museum (SAM). Since 2022, I’ve also been a member of the SAM Visitor Service Officers (VSO) Union , where we have been working to organize gallery guards to achieve better wages, restoration of our retirement benefits, and greater worker protections at the museum. In recent weeks, after 27 months of contract delays by SAM, negotiations have reached a breaking point, and workers have had no choice but to take drastic measures. Our union is independent, which means we are worker-run and organized, but this was not by choice. The National Labor Relations Board, even under the Biden administration, failed to protect our right to affiliate with a national union. The museum’s Board of Trustees took advantage of a legal loophole around “security workers” in the National Labor Relations Act to stop our affiliation with International Union of Painters and Allied Trades (IUPAT) Local 116 in 2022. This move deprived us of the funds, legal support, and infrastructure that partnering with a large union provides. On the positive side, this also more quickly exposed that the Board’s interests and incentives run counter to the needs of SAM employees. Get the latest art news, reviews and opinions from Hyperallergic. Daily Weekly Opportunities We know that the SAM Board comprises some of the wealthiest people in Seattle, and that they derive benefits from being on the Board. For example, Board members profit financially from their association with museums in numerous ways , one of which is increasing the value of their personal art collections. Several also leverage their so-called “ philanthropy ” at our arts institutions to launder their corporate reputations and ties to environmentally damaging industries . This reputation of benevolence is then often exploited for political power . Additionally, donors have a huge amount of control over how their funds are used, meaning that in many cases, personal projects can be pursued through the museum’s nonprofit structure. Museums offer some of the best “bang for your buck” in benefits, as far as philanthropy goes. However, the situation is changing with the growth of the museum union movement , which has responded to income inequality and the housing crisis nationwide. In the past, many donors could earmark donations exclusively for personal museum projects, and worker compensation stayed out of their sight. But because conditions in the US have worsened for working people, museum employees no longer do it as a “fun, part-time job,” but rather for survival. This year, the cost of living in Seattle has become unmanageably expensive. It costs about $33 per hour to rent a one-bedroom apartment in Seattle in 2024, according to the National Low Income Housing Coalition. Amid these conditions, why won’t the SAM Board of Trustees support their employees? The museum’s bargaining rep stated in November of 2023, via an emailed response to the VSO Union request for information, “The Employer has never asserted, nor will it ever assert, either a present inability to pay, or a prospective inability to pay during the life of the contract being negotiated.” Rather, they explained that while SAM has ample finances (assets of around $360 million, according to the 2021 IRS form 990), it has difficulty maintaining existing properties, and property upkeep will continue to take precedence. This explanation would have carried more weight if the museum had not announced in January they would be pursuing further expansion. SAM’s most recent five-year strategic plan includes plans to “develop” the collection, exhibition programs, and gallery spaces. Board Member Jon Shirley, a major art collector and former president, CEO, and director of the tech giant Microsoft, said in a 2018 interview that showcasing his Alexander Calder collection “takes a lot of room,” and suggested “taking down the floors above it” to create additional space “because we own those floors.” Shirley also led the development of the Olympic Sculpture Park (OSP) in 2007, one of SAM’s most ambitious expansions which also became the city’s largest greenspace. But as SAM’s operations expanded to include OSP during this same period, the institution dealt its workers a blow they have yet to recover from. Around 2006, the museum Board terminated the pension program for SAM’s frontline workers. Shirley, who was Board president at the time, allocated his donations toward his passion: creating a space to display his Calder collection. And the workers suffered greatly for it. In prior years, we had earned a pension benefit that allowed workers to retire with dignity, instead of being forced to work past retirement age. Sadly, the Board continues to chip away at our current, insufficient retirement benefits. In the bargaining room, SAM continues to claim that with further expansions and upgrades, the museum may someday become more profitable; and if it does, security guards should trust that these future benefits will be passed on to its workers. But instead of waiting for those benefits to trickle down, our union authorized a strike vote last month, with 96% of votes in favor. We plan to go on strike beginning this Friday, November 29, unless SAM’s Board of Trustees changes course and offers a contract that allows its workers to survive in Seattle. For two years, the Board has refused outright to meet with us, so now we take the argument directly to them. On November 19, we held a rally at our museum during the VIP preview of Shirley’s second Calder show this year. We sent our message to the Board loud and clear: Art institutions need to stop acting “symbolically,” and start supporting their employees for real. We hope you enjoyed this article! Before you keep reading, please consider supporting Hyperallergic ’s journalism during a time when independent, critical reporting is increasingly scarce. Unlike many in the art world, we are not beholden to large corporations or billionaires. Our journalism is funded by readers like you , ensuring integrity and independence in our coverage. We strive to offer trustworthy perspectives on everything from art history to contemporary art. We spotlight artist-led social movements, uncover overlooked stories, and challenge established norms to make art more inclusive and accessible. With your support, we can continue to provide global coverage without the elitism often found in art journalism. If you can, please join us as a member today . Millions rely on Hyperallergic for free, reliable information. By becoming a member, you help keep our journalism free, independent, and accessible to all. Thank you for reading. Share Copied to clipboard Mail Bluesky Threads LinkedIn Facebook

MEDFORD, New Jersey (WPVI) -- During this season of giving, a local business in Medford is preparing a big present. Revive Painting and Powerwashing's 'Holiday Pet Drive' has taken place annually for the last five years. The collection of donated goods will be a gift of basic necessities so that animal resource organizations can put their funding into even more significant causes. They will be taking collections until December 23rd. For more information, check out the video above. Also, check out their social media .Fans are questioning Nicole Kidman’s claim that a well-known meme of the actress seemingly celebrating her divorce from Tom Cruise was taken out of context . Kidman, 57, recently addressed the famous photo while speaking to British GQ , telling the magazine she was not celebrating her 2001 split from Cruise, 62, but rather filming a scene for an unnamed movie. “That was from a film, that wasn’t real life,” she insisted. “I know that image!” The picture was believed to have been taken in 2001 while the Oscar winner was leaving her lawyer’s office after settling her divorce from her “Eyes Wide Shut” co-star . In it, she strutted down a sunny sidewalk with her eyes closed and her arms raised in relief. However, Kidman said the widely believed scenario was “not true.” While the “Babygirl” star denied it had anything to do with Cruise, she notably did not specify which movie she was referring to, leading social media sleuths to do some digging of their own. However, most fans did not find any evidence of Kidman wearing a similar outfit — a sheer patterned top and green capris — in any of her films. “ok I just did a deep dive on this and not only does she not specify which movie it was, none of her legions of fans even have a hypothesis as to which movie it could have been. so I feel comfortable concluding that she’s lying and it really is a post-divorce paparazzi shot,” one X user wrote Monday in a post that has garnered more than 1 million views. “I can’t remember a movie where she went totally barefaced AND wigless?” another replied, to which a third added, “Also what movie would call for her to be dressed in those sneakers with that outfit??” “I looked it up too and gave up cause none of the movies she’s in during 2001 even match this vibe 😭,” a fourth chimed in. However, others defended Kidman, arguing that it could have been from a “scene that was cut.” “It’s gotta be a lie, but I do enjoy the idea (as the only possible alternative I can think of) that the photos are from unused footage from when she was supposed to do In the Cut lol,” one user wrote, referencing the star’s 2003 psychological thriller. “Y’all are weird there are plenty of movies that people try to get made that never see the light of day,” someone else posted. Kidman’s reps did not immediately respond to Page Six’s request for comment. Kidman wed Cruise in 1990, and they separated 11 years later. During their marriage, the couple adopted two kids : daughter Isabella, now 31, and son Connor, now 29 , both of whom have followed in their famous father’s footsteps and joined the Church of Scientology . The “Perfect Couple” star rarely talks about her adult children or her marriage to the “Top Gun” star. Kidman moved on with Keith Urban in 2005, and they wed the following year. She and the country singer, 57, have two daughters: Sunday, 16, and Faith, 13.