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Explore the cultural reach of the Caribbean in the Harlem Renaissance during a day of talks and conversation inspired by our Silhouettes exhibition. Art historian Samantha Noël kicks things off with a keynote presentation about how American artists like Aaron Douglas and Josephine Baker used "tropical aesthetics" to shape the development of Black modernity. Following the talk, enjoy a reception and a panel discussion with FIU faculty that will draw connections between the broader cultural movement, the tropics, and featured works in the show, offering fresh perspectives and insights into this transformative time. Panelists Alexandra Cornelius, History and Women's Studies DepartmentHeather Russell, English DepartmentChantalle Verna, History DepartmentShawn Christian, English Department (Moderator) Schedule 11:00am–12:00pm | Talk by Dr. Samantha Noël 12:00pm–01:00pm | Exhibition Viewing and Reception 01:00pm–02:00pm | FIU Faculty Panel Register By ML Staff. Courtesy of The Wolfsonian–FIU

Widely regarded as his most important and controversial commission, Harry Clarke's stained-glass masterpiece, the Geneva Window, is again on view at The Wolfsonian–FIU. An internationally renowned Irish artist, Clarke was commissioned in 1926 by the newly independent Irish Free State to create a window as a gift to the League of Nations in Geneva. The completed window was, however, rejected—labeled too provocative and "unrepresentative" of the Irish people. This new installation sheds light on the life and times of Harry Clarke, the stories behind the window, and the consequences of cultural censorship. By ML Staff. Courtesy of The Wolfsonian–FIU

The Big World, focusing on depictions of the land in The Wolfsonian's collection, challenges expectations of landscape art as it goes beyond bucolic scenes to reveal changing vistas of the modern era rendered in paintings, the decorative arts, and even a grand piano. The exhibition charts a course through the end of the 19th century and into the first half of the 20th, outlining the story of global growth and shifting ideas about the world around us—from pristine nature, to its radical alteration in modern urban and industrial centers, to panoramas ruined by war and environmental disregard. Presented in connection with Bridge Deconstruction Site  and The Breath Eaters. By ML Staff. Courtesy of The Wolfsonian–FIU

At the Only Watch 2024 charity auction, held on Friday May 10 2024 at Christie’s in Geneva, the Grande Sonnerie Reference 6301A-010 in steel fetched the sum of 15.7 million Swiss francs. Patek Philippe is proud and pleased to be able to donate this amount to the Monaco Association against Duchenne Muscular Dystrophy (Association Monégasque contre les Myopathies AMM) so as to contribute to the development of treatments for degenerative neuromuscular diseases. Since the first edition in 2005, Patek Philippe has remained a staunch supporter of the Only Watch charity auction, each time donating a special, unique version of one of its timepieces, usually a Grand Complication. For the tenth edition of Only Watch, Patek Philippe chose to showcase its mastery in the realm of chiming watches by reinterpreting the Grande Sonnerie Reference 6301, an outstanding timepiece launched in 2020, uniting a grande sonnerie (the “Grail” of acoustic functions), a petite sonnerie and a minute repeater. The unique piece created for the 2024 sale is the first version of Reference 6301 in steel – a metal rarely used for the Patek Philippe Grand Complications. It is also distinguished by its dial, adorned with a combination of rare handcrafts: the gold dial plate is hand-guilloched in a swirling pattern, shining through coats of translucent blue-green Grand Feu enamel, according to the traditional technique of flinqué enameling. Twelve baguette-cut diamond hour markers add to this graceful play of light. The elegant case in polished steel features a concave bezel and countersunk, satin-brushed flanks. The caliber GS 36-750 PS IRM manually-wound movement (703 parts) is notable for its three classic gongs, its two patents related to the striking mechanism and its patented jumping small seconds at 6 o’clock. Patek Philippe is delighted to be able to place its know-how and renown at the service of the fight against degenerative neuromuscular diseases. The Geneva manufacture also thanks all its customers and the devotees of haute horlogerie and collectors of fine mechanisms who –in the course of these ten editions of Only Watch – have expressed their confidence in the brand by being prepared to raise the bidding and by investing considerable amounts in aid of research into muscular dystrophy. ML Staff. Courtesy of Patek Philippe

The manufacture is reinterpreting its iconic Golden Ellipse wristwatch by endowing it with an exclusive brand-new bracelet whose modern patented construction unites comfort with elegance. Equipped with the caliber 240 ultra-thin self-winding movement, the new Golden Ellipse Reference 5738/1R-001 presents a case and bracelet in rose gold framing an ebonyblack sunburst dial on which the slender hour markers and hands, also in rose gold, stand out clearly. With its instantly recognizable shape, between a circle and a rectangle, and its harmonious proportions inspired by the ancient golden section, the Golden Ellipse has made its mark as a style icon in the Patek Philippe collections. Launched in 1968 with a case in yellow gold and a dial in blue gold, it has since appeared in other hues of gold and with dials of different colors. For its 40th anniversary in 2008, the collection introduced a large model (34.5 x 39.5 mm) in platinum, with a blue sunburst dial (5738P-001) followed in 2018 by a large model in rose gold with an ebony-black sunburst dial (5738R001). From the time of its launch and through to the early 1980s the Golden Ellipse collection was proposed, not only on leather straps but on several types of chain bracelet, such as the milanais-style bracelet of Reference 3548 (1968) or the polonais-style bracelet of Reference 3605 (1974). To these must be added a number of link bracelets with particularly distinctive designs. This great creativity expressed in the bracelets added to the aura surrounding this flagship watch of the 1970s, a unique alliance of audacity and balance. A reinvented chain bracelet Patek Philippe is revisiting this great era of horological design by proposing Reference 5738 on an elegant chain-style bracelet in rose gold that follows the contours of the wrist and offers superb comfort while also accentuating the finesse of the case. True to its continuous quest for innovation, the manufacture was intent on reinstating the chain bracelet in the collection, but eliminating the technical drawbacks associated with the previous versions, particularly with respect to adjusting the length. The product of 15 years’ development, the new bracelet in 18K rose gold, hand-polished throughout, is distinguished by its modern, patented construction, which made it possible to recreate the style of the classic chain bracelets. It comprises 363 parts, including more than 300 links, assembled manually one by one. The new bracelet is introduced as an exclusive feature of this Golden Ellipse Reference 5738/1R-001. Its modern construction allows the length to be adjusted more easily, whether shorter or longer. The clasp (its cover adorned with an engraved motif continuing that of the bracelet) offers the choice of three adjustment notches. A pure, timeless dial design The ebony-black “sunburst” dial forms a background to baton-style applied hour markers and slender cheveu-style hands, all in rose gold. This timeless, understated aesthetic perfectly reflects the spirit of the Golden Ellipse. A black onyx cabochon set into the crown completes the visual harmony of the design. The slimmest Patek Philippe watch Beating inside this model is the self-winding caliber 240, an ultra-thin movement with off-center minirotor in 22K gold allowing for a case with an extremely low profile (5.9 mm) – making the Golden Ellipse Reference 5738 the slimmest watch in the Patek Philippe regular collection. The new Reference 5738/1R-001 joins the regular collection References 5738P-001, 5738R-001 and the Rare Handrafts Reference 5738/51G-001. Patek Philippe and the metal bracelets Ever since the emergence of the first wrist-worn timepieces in the 1910s, Patek Philippe has been renowned for the technical and aesthetic inventiveness of its bracelets. The late 1960s and the decade of the 70s also stands out as a period of great creativity in the metal bracelets proposed. Patek Philippe’s metal bracelets can be divided into two types, according to the way in which they are constructed. The links of the chain bracelets are crafted one by one by artisan chainsmiths from a gold wire or a wire in another metal, and then assembled by hand to produce a structure that is remarkably supple. Throughout its history Patek Philippe has continued to showcase the skills of its artisans and certain specialized suppliers, such as Gennari Ponti, subsequently renamed ARSA (Ateliers Réunis SA) before being integrated into Patek Philippe when all the manufacture’s workshops were united under one roof at Plan-les-Ouates in 1996. The links, clasps and catches comprising the bracelets known as “mechanical” are produced on CNC machinery from a bar of metal (gold, platinum or steel) before being assembled by hand and then –depending on the bracelet – polished or satin brushed, also by hand. This category includes the polished/satin-brushed bracelet of the Nautilus (launched in 1976 and requiring more than 15 different finishing operations), the “Goutte” (or “droplet”) bracelet (1998) and the fully polished bracelet of the ladies’ Twenty~4 watch (1999). The new chain-style bracelet developed and crafted by a historic partner of Patek Philippe and introduced as an exclusive feature of the Golden Ellipse Reference 5738/1R-001 unites the best of those two worlds, with parts produced by industrial processes on the latest-generation CNC machines, and then assembled and finished by hand, drawing on all the traditional know-how of the artisan chainsmiths. Technical data Golden Ellipse Reference 5738/1R-001 Movement: Caliber 240 Ultra-thin self Ultra-thin self-winding mechanical movement Diameter: 27.5 mm Height: 2.53 mm Number of parts: 161 Number of jewels: 27 Power reserve: Min. 48 hours Winding rotor: Mini-rotor in 22K gold, unidirectional winding Frequency: 21 600 semi-oscillations per hour (3 Hz) Balance: Gyromax® Balance spring: Spiromax® (in Silinvar®) Balance spring stud: Adjustable Functions: 2-position crown: • pushed in: to wind the movement manually • pulled out: to set the time Displays: By hands: • hours and minutes from the center Hallmark: Patek Philippe Seal Features Case: 18K rose gold Solid back Crown set with a black onyx cabochon Water-resistant to 30 m Case dimensions: From 3 o’clock to 9 o’clock: 34.5 mm From 6 o’clock to 12 o’clock: 39.5 mm Height: 5.9 mm Dial: Ebony black “sunburst” Dial plate in 18K gold Cheveu-style hour and minute hands in 18K rose gold Baton-style applied hour markers in 18K rose gold Bracelet: Chain-style bracelet in 18K rose gold, manually polished throughout, with exclusive patented construction comprising 363 parts, including more than 300 links assembled manually one by one Clasp in 18K rose gold with engraved cover and three adjustment notches ML Staff. Courtesy of Patek Philippe

As a premium Partner of Paris 2024, LVMH is making an active contribution to the cultural resonance of these Olympic and Paralympic Games, organizing a unique agenda of artistic events as part of the Cultural Olympiad. Throughout the summer, LVMH will present a compelling program that bridges the arts, sports and the Olympic values, spotlighting the engagement of Berluti, Dior, Guerlain, Louis Vuitton, La Samaritaine and the Fondation Louis Vuitton. Guerlain presents “OR NORME”, an art exhibition celebrating gold, the precious metal that inspires athletes and sparks dreams the world over. The Olympic & Paralympic Games Paris 2024 bring Guerlain a special opportunity to celebrate gold, the precious metal that inspires athletes and sparks dreams the world over. Gold has exerted an irrepressible fascination throughout the ages, transcending its physical nature to become a universal symbol of value and excellence. Gold has been intimately linked to the history of Guerlain and its products, from the first Bee bottle created in 1853, to contemporary interpretations. Curated by Jean-Luc Monterosso and Benoît Baume, the OR NORME exhibition features works by 16 artists who explore the dreamlike dimensions of gold through various mediums and interpretations: They include Carolle Benitah, Paul Cupido, Harald Gottschalk, Graphset and Amandine Besacier, Morvarid K, Yves Klein, Enzo Lefort, Cédric Matet, Pedro Motta, Isabel Muñoz, Martin Parr, Pierre and Gilles, Georges Rousse, Rodolphe von Gombergh, Wiktoria Wojciechowska and Sophie Zénon. From Carolle Benitah’s gold inlay and gold leaf in works by Georges Rousse and Yves Klein, to Martin Parr’s ironic gold bars, gold is interpreted in a variety of poetic and contemporary forms. Guerlain also commissioned two original works for the event: a unique print on glass and 24-carat gold by Spanish photographer Isabel Muñoz, and an innovative optical experience by the creative duo Graphset and Amandine Besacier. Illuminated in golden hues, the exhibition is a moving panorama of the history of photography that showcases the exceptional artistic and esthetic heritage of Maison Guerlain. Discover the exhibition between June 6 and September 12 at 68 avenue des Champs-Elysées in Paris Samaritaine Paris celebrates the Paris 2024 Olympics adventure With France already abuzz with excitement as the Olympic and Paralympic Games Paris 2024 draw near, Samaritaine is celebrating the sheer fun and playful inspiration of sports, creating a giant podium. Three exhibitions are set for the Olympic and Paralympic Games Paris 2024, beginning with “Légendes Mondiales du Sport” (Global Sporting Legends), retracing memorable moments from a century of sports history through more than 100 iconic and unique items that belonged to champions. The second exhibition features women in sports with “Domestic Games, Les Femmes à l’Epreuve” (Domestic Games, Women Take the Lead). Installations by Camille Menart examine the feminine condition in international sports competitions. Finally, the third exhibition at Samaritaine invites Fisheye, which has curated a display of photos by Enzo Lefort, a member of the French foil fencing team and LVMH Group ambassador, who shares an insider’s look at sports and high-level competition. The three exhibitions open at Samaritaine Paris on May 16, 2024. ML Staff. Content/image(s) courtesy of LVMH

If you are hading to South of France this Summer don't miss the À Ténèbres” by Djabril Boukhenaïssi exhibition in Arles. Lee Ufan Arles and Maison Guerlain joined to create the Art & Environment Prize in 2023. The annual award honors works with universal significance and a philosophical depth that resonates with the ethos of Lee Ufan, coupled with a connection to environmental themes, aligning with the values upheld by Maison Guerlain. The exhibition “À Ténèbres” by Djabril Boukhenaïssi, winner of the first Art & Environment Prize, will be presented at Espace MA by Lee Ufan Arles from July 1 to September 1, 2024.  Centered on the disappearance of night, the exhibition brings together paintings and engravings done by the artist during his residency. For this second edition, open to all artists worldwide in all artistic disciplines, with no age limits or prerequisite qualifications, the jury will be chaired by Lee Ufan and include members of Lee Ufan Arles and Guerlain, joined by prominent personalities. Representing Maison Guerlain are Gabrielle Saint-Genis, President and CEO, Ann Caroline Prazan, Art, Culture and Heritage Director, and Clément Renaudet, Head of Climate and Biodiversity. The winning artist will benefit from support and a grant from Lee Ufan Arles over a six- to eight-week period in early 2025, along with a unique workspace in the heart of Arles. Candidates can apply via the site linked below until July 15, 2024:   www.leeufan-arles.org/art-environment-prize ML Staff. Content/image(s) courtesy of LVMH

Join us on Thursday, June 20 for “Art and Mythology” with Keely Sutton Bell, the final talk from the series ART AS HEALING, expanding on the topics of Carol Jazzar’s All (W-hole) of Me, healing through Art, the art of deconstructing and recreating oneself. Keely Maude Sutton is an assistant professor of religion at Birmingham-Southern College in Birmingham, Alabama. She has a Ph.D. in Asian cultures and languages from The University of Texas at Austin, an MA in religion from Wake Forest University, and a BA in philosophy and religion from Appalachian State University. Her current research is centered on the Muslim song literature of the South Indian state of Kerala, with broader research into multiple religious traditions of South Asia such as Buddhism, Hinduism, and Islam. She is also interested in undergraduate pedagogy. She has received several foreign language area studies grants awards and an IIE Graduate Fellowship (Fulbright) in 2011. DATE: Thursday, June 20, 2024 TIME: 6:30PM - 8:00PM ADDRESS: Dalé Zine Shop 50 NE 40th St Miami Florida, 33137 Driving Directions TICKETS ML Staff. Content/image(s) courtesy of MDD

From April to October 2024, the Institute of Contemporary Art, Miami, will present a comprehensive survey of works by artist Zilia Sánchez (b. 1926, Havana; lives and works in San Juan, Puerto Rico). A singular voice in postwar Latin American modernism and geometric abstraction, Sánchez’s dynamic painterly practice encompasses a broad range of styles and themes. Spanning more than seven decades, her works are a product of continual experimentation. Sánchez is best known for her iconic shaped canvas paintings. Stretched over wooden constructions, these works resemble bodily shapes while retaining abstract qualities. Through these works, the artist has explored formalist concerns while subtly grappling with significant social issues—notions of gender, feminism, and identity formation, among others. In addition to these stretched canvas paintings, the exhibition also includes a significant number of Sánchez’s earlier works, such as her abstract paintings in bright hues and geometric shapes created in the 1950s while living in Cuba. In Havana, Sánchez was part of a group of painters that sought to leave behind figurative painting, which had dominated previous generations. In its stead, they mobilized abstraction, as an anti-establishment proposal and as a formal innovation. These were turbulent years in Cuba, as the repressive dictatorship was established, and a young generation of students, artists, and civic leaders resisted. In this atmosphere Sánchez began to develop increasingly complex formal proposals and test new abstract languages. In parallel with her abstractions, Sánchez developed her “Afrocubanos” series of paintings depicting abstracted, stylized figures and alluding to ritual practices and religious effigies. This exhibition gathers for the first time a robust group of these works, broadening understanding of the expansive scope and breadth of Sánchez’s practice. The artist left Cuba in 1960, a year after Fidel Castro came to power, and settled in New York, where she became an active member of the cultural scene of émigré artists and writers. She worked as a graphic designer and as a theater set designer, while continuing to develop and exhibit her paintings. Experimenting with nontraditional materials, like sawdust, resin, and wax, Sánchez created a series of mixed media paintings that relate to the four elements, including Agua (1961) and Tierra (1968), along with more abstract themes such as Ecuación (Equation, 1963) and Sucesión (Succession, 1966). In 1966, Sánchez moved to Madrid, aided by a fellowship from the CINTAS Foundation, to study conservation and restoration. She began to develop the style that would come to characterize her practice. Three-dimensional canvases with sensuous forms, her paintings of this period combine geometric abstraction with social, biographical, emotional, and erotic connotations, as works with titles referencing “Eros” and “Amazons” suggest. Since 1971, Sánchez has lived and worked in San Juan, Puerto Rico. The works she has created there are marked by an emphatic embrace of the female form, challenging the rigid and rational conventions of European modernism with a sensorial, feminist take on geometric abstraction. The exhibition “Topologías / Topologies” encompasses approximately thirty works by the artist produced between 1950 and 1996. The survey will be accompanied by an exhibition catalogue featuring new photography, scholarly essays on the artist, and archival materials. Zilia Sánchez (b. 1926, Havana; lives and works in San Juan, Puerto Rico) has been exhibited internationally since the 1950s. Most recently, solo exhibitions have been mounted at Artist Space, New York (2013); the Phillips Collection, Washington, D.C., which toured to Museo de Arte Ponce, San Juan, and El Museo del Barrio, New York (all 2019). Sánchez’s work has been featured in seminal group exhibitions, including “Radical Women: Latin American Art, 1960-1985,” at the Brooklyn Museum, Brooklyn, New York as well as the main exhibition “Viva Arte Viva” of the 2017 Venice Biennale. It is currently on view in “Foreigners Everywhere” at the 2024 Venice Biennale. Sánchez work is held in museum collections including the Tate, London; Museum of Modern Art, New York; Centre Pompidou, Paris; Museum of Art of Puerto Rico, San Juan; Museum of Latin American Art in Buenos Aires, , Argentina; National Museum of Fine Arts in Havana, Cuba. By ML Staff. Images courtesy of Contemporary Art, Miami

Jaeger-LeCoultre is pleased to announce its participation in the third edition of the Homo Faber Biennial in Venice in September. Homo Faber celebrates the savoir-faire and unique stories of talented craftspeople from around the globe, honouring the priceless human skill behind the creation of beautiful, handcrafted objects. Designed by celebrated film director and interior architect Luca Guadagnino, and architect Nicolò Rosmarini, the event, titled The Journey of Life, will feature the work of more than 400 highly skilled craftspeople from 50 countries, in 10 themed exhibition spaces. The Homo Faber Biennial will take place on the island of S.Giorgio Maggiore, Venice, from 1–30 September, 2024. JAEGER-LECOULTRE WILL PARTICIPATE IN THE THIRD EDITION OF THE HOMO FABER BIENNIAL IN VENICE THIS SEPTEMBER Key Facts : Showcasing the talent and traditional savoir-faire of the Maison in both watchmaking and the decorative arts Underlining the vital importance of preserving ancestral craft skills and passing them on to future generations Presenting objects created under the Homo Faber Fellowship, in partnership with Jaeger-LeCoultre An immersive exhibition offering rare insight into precious craft skills Showcasing the exceptional savoir-faire of its Métiers Rares™ atelier and reflecting a core value of the Maison, Jaeger-LeCoultre has been chosen as a participant in the ‘Nature’ exhibition. It will underline the inheritance of traditional crafts, the value of passing down savoir-faire from generation to generation, and the influence of symbolic imagery throughout history. Animating the Maison’s exhibit and offering visitors rare insight into precious craft skills, craftsmen from the Manufacture will give live demonstrations of the crafts of enamelling, engraving, gem setting and watchmaking at different times throughout the month-long event. To celebrate the talent and accumulated savoir-faire in both watchmaking and the decorative arts, Jaeger-LeCoultre will launch three new Reverso limited-edition timepieces during the Homo Faber Biennial. Homo Faber Fellowship: supporting the transmission of savoir-faire Reinforcing its commitment to supporting the preservation and transmission of vitally important craft skills for future generations, Jaeger-LeCoultre last year became the partner of the Michelangelo Foundation in the Homo Faber Fellowship. A long-term initiative, the programme equips talented graduates with the creative and business skills necessary for integration into the professional craft sector. The inaugural cycle began with a month-long residential masterclass based at the studio of the renowned Portuguese contemporary artist Joana Vasconcelos and brought together 20 duos of Master craftsmen and newly graduated talents (Fellows). Workshops in creative skills were complemented by a design case study presented by Jaeger-LeCoultre, and a bespoke programme focused on business skills and entrepreneurial vision presented and certified by ESSEC Business School. This was followed by a six-month residential placement for the Fellows in the studios of their corresponding Masters, during which they exchanged ideas and further developed their techniques through the co-creation of an object. A selection of these objects has been curated for the Homo Faber Biennial, where they will be displayed in different exhibition areas, corresponding to the creative visions and craft skills that each embodies. The Homo Faber Biennial is open to the public from 1 – 30 September 2024, from 10am to 7pm daily, at Fondazione Giorgio Cini on the island of S.Giorgio Maggiore, Venice. Information and tickets are available at homofaber.com ML Staff. Courtesy of Jaeger‑LeCoultre

Celebrate the opening of the Les Misérables North American Tour at the Arsht Center with a themed Happy Hour at Michelin-starred Le Jardinier. Discover delicious Parisian-themed cocktails and Bar Bites, and mingle while enjoying music inspired by Les Miz – along with your favorite Broadway hits. And don't miss your chance to win tickets to the Tony Award-winning musical phenomenon. Walk-ins encouraged. DATE: Thursday, June 13, 2024 TIME: 5:00PM - 8:00PM ADDRESS Le Jardinier 151 NE 41 St. Suite 135 Miami FL, 33137 Driving Directions ADD TO YOUR CALENDAR iCal (Apple/Outlook)/Google Calenda ML Staff. Content/image(s) courtesy of MDD

In a unique prelude to the much-anticipated Canadian Grand Prix, the world’s fastest drivers from Oracle Red Bull Racing and Visa Cash App RB teams showcased their skills in F1’s inaugural Soapbox Race. Here’s the scoop: - The event was hosted by Molly Carlson, a Montreal-based Red Bull Cliff Diving star and internet sensation, along with renowned Canadian snowboarder Craig McMorris. The course, laid out at the iconic Parc Olympique in Montreal, featured a series of challenges designed to test the drivers. - With enthusiastic support from fans of both teams, drivers navigated the Great Canadian Crossing, braved a snowstorm, survived a chicane, and tackled a series of rollers. After battling for the best qualifying times, the drivers competed in thrilling one-on-one races to the finish line. - Ultimately, weight and height played crucial roles in determining soapbox performance. Max Verstappen clinched the fastest time, followed closely by Daniel Ricciardo and Checo Perez. - Daniel Ricciardo remarked, “I’ve never done a soapbox race before. Zero horsepower was scarier than 700 horsepower! We discussed weight at the beginning, knowing Max had the advantage over me, then Checo, and finally Yuki – and we were right!” - Max Verstappen noted, “With everyone in the same soapbox, there’s not much difference. The heaviest one usually has a slight advantage, and I think I was the heaviest of the four, so going downhill, that’s a bit of an advantage.” - Checo Perez commented, “It was good fun, a bit hectic. Unfortunately, I couldn’t jump enough despite trying my best. I always knew it would be between Max and Daniel due to weight. I could have told you the one who was going to lose was Yuki because he’s quite a lot lighter than even myself!” - Yuki Tsunoda shared, “The main target was to drive fast and not brake at the chicane. In the end, I achieved that, so I was happy, but it didn’t work out!” Highlights of the Event: - Each driver received a personalized soapbox featuring their names and race numbers. - 80 lucky fans from Oracle Red Bull Racing and Visa Cash App RB were invited to witness the action live and meet the drivers. - The course included key challenges: - The Great Canadian Crossing, with cutouts of hockey players, maple leaves, and raccoons. - A snowstorm, simulating near whiteout conditions. - A prairie-inspired chicane, testing drivers’ steering skills with tight turns. - A drive through the Rocky Mountains ramp of rollers, concluding their run. - In the qualifying round, each driver made one run to clock their fastest time. Max secured pole position, followed by Daniel, Checo, and Yuki. - The event culminated in head-to-head races: Checo versus Yuki, and Max against Daniel. Montreal has a rich history of soapbox racing, with the last Red Bull Soapbox race held in 2015 near Victoria Square. This summer, Red Bull Soapbox returns to Edmonton on June 22, with 60 teams competing in homemade soapboxes for a chance to become the hero of the day. By ML Staff. Images courtesy of Red Bull