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The World of 'The Artist' When a British journalist named Joseph Adelaide tracks down a reclusive artist to his remote farmhouse in the south of France, his plan is to interview him for a magazine profile. Edouard Tartuffe is a revered painter who was taught by Cézanne and is known on the Parisian art scene as the “Master of Light”. But then he retreated from the limelight amid rumours of a feud with his former mentor. A Sensory Experience Lucy Steeds’s evocative novel is set over a summer in Provence in 1920 where the landscape shimmers, the cicadas hum and “sunlight radiates from the yellow fields”. Steeds’ book is as much a sensory as literary experience as the listener is immersed in the heady smell of turpentine and the pungent stink of still life fruit and fish arrangements deliberately left to rot in the Provençal heat. The Performance The reader is Tanya Reynolds, who imbues the mystery of the brutish Tata and his withdrawal from the world with atmosphere and slow-burning tension. Joseph believes the key to understanding this once-towering artist lies with the quiet, contemplative Ettie, who has lived with her uncle since childhood and is harbouring secrets of her own. Further Listening Recommendations Sanctuary by Marina Warner, William Collins, 12hr 56min - A moving essay series on the places we choose to live. Am I Having Fun Now? by Suzi Ruffell, Bluebird, 8hr 54min - A memoir about growing up as a working-class queer woman and a self-help manual on how to navigate life.

The LeadA new exhibition at London's Courtauld Gallery offers a focused look at Barbara Hepworth's use of color in her sculptures, revealing how the Cornish seascape that surrounded her home and studio became the inspiration for her abstract yet evocative works. The exhibition, running from June 12 to September 6, presents a small survey of Hepworth's colorful sculptures alongside her preparatory drawings, showing how the artist compressed the salty Cornish seascapes into immaculate sculptures that seem to echo the sound of waves breaking on Porthmeor beach.The Oceanic VisionHepworth's favorite colors—blue and white—were not chosen arbitrarily but directly reflect the sea that surrounded her in St Ives. The white foamy breakers and rippling waters that swaddle the Cornish fishing town are captured in her rounded, pierced, convex and concave tabletop sculptures. In the exhibition's first room, a series of objects resembling geodes are displayed on pedestals—white plaster forms cut open to reveal deep blue interiors, with red-painted strings tautly fixed across them. These abstract yet evocative works suggest seaweed if, like many viewers, you can't help but see nature in Hepworth's creations.The Sculptural LanguageThe exhibition frames Hepworth as both a pure abstract creator and an artist whose forms are deeply rooted in natural phenomena. Her 1946 elmwood carving Pelagos curls over like an especially elegant wave, the kind that surfers wait for off St Ives. Hepworth must have watched waves for hours, for years, to be able to visualize this graceful, smooth curve of gathered force, which she has painted white on its underside. Red strings are suspended between the double curve, creating an almost cinematic sense of movement. These strings make her sculptures resemble the Aeolian harp, an instrument that can be played by the wind, suggesting that Hepworth didn't only work with color but sound, too.The Exhibition ExperienceThe exhibition presents Hepworth's sculptures alongside her precise drawings that feature carefully calculated curves and radiating, intersecting lines. While these drawings are interesting at first, the obligation to keep looking from Hepworth's captivating, self-contained sculptures to her studies starts to feel like a chore. The argument of the exhibition—that Hepworth used color—seems somewhat reductive, as it's hardly surprising that a major 20th-century artist employed color in her work. Nevertheless, Hepworth's greatness as a sculptor shines through in these immaculate works that capture both the physical and spiritual essence of the natural world.The Artistic LegacyHepworth's art doesn't merely depict nature; it makes viewers feel the solitude, peace, and immensely long time cycles of nature. The sculptor's chisel, often imagined as a penetrating, aggressive tool, becomes in Hepworth's hands a means of liberating holes and creating concavities that suggest both the vastness of the ocean and the intimate spaces between waves. This exhibition reveals Hepworth not just as a modernist pioneer but as a nature goddess of British art, whose work continues to resonate with viewers who can almost hear the waves breaking in her sculptures.

The LeadA massive mural featuring Brazilian football superstar Neymar has been unveiled on a street in Brazil, creating a new landmark for fans and art enthusiasts. The larger-than-life artwork celebrates Neymar's illustrious career and his impact on Brazilian football.The Artistic CelebrationThe mural, which spans an entire building facade, showcases Neymar in various iconic poses throughout his career. Local artists collaborated to create this tribute, which has been receiving widespread attention on social media and drawing crowds to the neighborhood.The Cultural ImpactStreet art has become an increasingly popular medium in Brazil to celebrate national heroes and cultural icons. Neymar's mural joins a growing collection of public artworks dedicated to football legends, reflecting the sport's deep roots in Brazilian culture and society.The Fan ReactionSince its unveiling, the mural has become a must-visit location for Neymar fans visiting Brazil. Supporters have been gathering to take photos and share their appreciation for both the artwork and the player it depicts.The Future of Sports MemorialsThis mural represents a new trend of permanent public tributes to athletes in Brazil. As Neymar continues his career, both domestically and internationally, such artworks serve as reminders of his contributions to the sport and his status as a national icon.

The Life and Art of Bettina Bettina, a reclusive artist known for her prolific output, has left an indelible mark on the art world. Her works, spanning over four decades, have been showcased in an exhibition called Bettina: Finite Structures at the Glasgow International festival of contemporary art. The Chelsea Hotel Years Bettina's journey as an artist began in 1972 when she moved into New York's iconic Chelsea Hotel. Over the years, her room became a studio, a gallery, and a sanctuary, filled with an astonishing array of artworks, including Xeroxed word art, geometric sculptures, photographs, and collections of leaves arranged in grids. The Artistic Output Bettina's works are a testament to her boundless creativity. Her sculptures, photographs, and films showcase her exploration of form, perspective, and the relationship between the individual and their environment. Notable works include Penetration of Four Equal Constants by Eight Elements of Progressive Displacement (1975-76), an 8mm animation created with physicist Robert W Weinberg, and Phenomenological New York, a photographic series capturing distorted reflections in New York's skyscrapers. The Impact of Bettina's Art Bettina's art is not just a reflection of her inner world but also a commentary on the world around her. Her works challenge our perceptions, inviting us to see beyond the visible. As she once said, 'After the fire – when I had to start all over again – I found, psychologically, that two dimensions weren’t sufficient.' The Future of Bettina's Legacy As Bettina's art continues to inspire and intrigue audiences, her legacy as a pioneering artist is cemented. Her story serves as a reminder that art can be a powerful tool for self-expression and a means of transcending the boundaries of human perception.

In a cluttered east‑London studio, surrounded by paint‑splattered racks and stacks of art monographs, Caragh Thuring serves tea and offers a stark assessment of the times: “We are living through a moment of hellish, mind‑less destruction.” Her latest body of work fuses erupting volcanoes, military aircraft, and Elon Musk’s swaddling Starlink satellites into massive canvases that feel both prophetic and chaotic. The Interview: A Glimpse into Thuring’s Turbulent Studio The conversation opens beside a seven‑foot‑high painting where a B‑52 morphs into a medieval knight, its wing turning into a sword‑hilt. Thuring explains that she does not pre‑plan her pieces; instead, she lets the brush capture the “movement of her imagination,” allowing each canvas to evolve organically. She cites recurring motifs—submarines, volcanoes, tartan patterns, brick walls—and notes that her lack of preparatory sketches forces a dialogue between the artist and the work as it unfolds. Why Thuring’s Apocalyptic Imagery Resonates in a Tech‑Saturated Age Thuring’s paintings juxtapose ancient symbols with contemporary threats, linking the roar of a B‑52 to the silent orbit of Starlink satellites that “swaddle us in broadband and occlude the night skies.” This visual tension mirrors broader cultural anxieties about surveillance, climate change, and perpetual conflict. By placing a rocket‑like spermatozoon beside the satellite sphere, she suggests a fertilisation of humanity’s future by technology—an unsettling yet inevitable convergence. War & Peace: Military aircraft merge with chivalric knights. Nature & Catastrophe: Volcanoes from Þríhnúkagígur to Vesuvius recur as symbols of uncontrollable forces. Technology & Surveillance: Starlink constellations dominate the sky, hinting at a new digital veil. Urban Chaos: London’s “radical”, self‑reconstructing energy fuels the paintings’ restless energy. These layers compel viewers to bring their own narratives, rejecting the expectation of a single, comforting message. Thuring argues that art should act as “little triggers or sparks,” igniting personal reflection rather than delivering doctrine. What Lies Ahead for Thuring’s Provocative Practice Looking forward, Thuring plans to extend her exploration of “mundane to cosmic” juxtapositions, likely incorporating emerging geopolitical events and further technological developments. As satellite constellations multiply and global tensions persist, her canvases may become even more densely packed with symbols, challenging audiences to navigate an increasingly complex visual landscape. The ultimate hope, she says, is that each spark she creates “can start a fire” in the viewer’s imagination.

The Exhibition's Concept The 'Project a Black Planet' exhibition at the Barbican in London aims to explore the concept of Panafrica through art and culture. The exhibition features works by various artists, including Lynette Yiadom-Boakye, El Anatsui, and Abdias Nascimento. The Artistic Vision Lynette Yiadom-Boakye's contribution to the exhibition is notable, with her paintings of fictional people that resemble portraits. Her work invites viewers to ponder the connections between young contemporaries and idealized ancestors. The Problem with Theory The exhibition has been criticized for prioritizing academic theory over artistic vision. The curators' approach has been described as 'leaden prosaicness,' with the artworks chosen to illustrate arguments rather than evoke emotions. The Impact of Négritude The exhibition explores the concept of Négritude, a French cultural movement that emerged in the early 20th century. The movement sought to assert Blackness and validate the legacy and traditions of Africa. The Future of Panafrica The exhibition's focus on Panafrica raises questions about the future of the concept. While the idea of a utopian continent is compelling, the exhibition's execution has been criticized for being overly theoretical and lacking in artistic flair.

The Legal Battle at Williams F1 On the track, the Williams Formula One team are attempting to revive former glories through their talented driving team of Alex Albon and Carlos Sainz and the team principal, James Vowles. However, away from the track, the team and their parent company, Dorilton, are embroiled in a messy dispute with a former executive, Claudia Schwarz, who was dismissed in 2022. In court filings, she alleges she was fired after raising concerns about sexism towards her and racism, with claims drawing in Lewis Hamilton's foundation and the artists Wyclef Jean and Shaggy. Allegations of Fraud and Misconduct Schwarz was fired as Williams's chief marketing officer in November 2022. According to Schwarz, who is sharing her side of the story for the first time with the Guardian, no reason was given for her dismissal at the time. She says she agreed to a severance package shortly after that, which was never fulfilled, and a few months later she sued for breach of contract. In May 2023, the dispute escalated when Dorilton filed a lawsuit in New York claiming Schwarz illicitly took $6.9m in expenses and inflated fees and that Darren Fultz, CEO of the race team's holding company, looked the other way on the alleged fraud. These were costs such as flight and hotel reservations and fees she billed Dorilton for services provided by her own agency, Stilus. The Question of True Ownership The ultimate ownership of the Williams team is questioned by the former executive, who makes a hotly contested claim that the team are controlled by Peter de Putron, a billionaire based in Jersey with close links to the Conservative party. They in turn accuse the executive of fiddling her expenses, charging inflated fees and defrauding the company in cahoots with a former CEO of Williams's parent company. Schwarz claims in her lawsuit she was fired after clashes with Dorilton executives and De Putron. She alleges De Putron is the real owner of Dorilton and its subsidiary, Williams Grand Prix Racing. Dorilton's position is that De Putron, a donor to the Conservative party and Eurosceptic thinktanks, is a passive investor in its motorsport holdings. Defamation and Industry Fallout A few months after Dorilton sued her, the UK-based Business F1 magazine published a story headlined: "A vixen who infiltrated Williams". She was described in terms more suited to National Enquirer-style scandal sheets. "Dark haired, displaying a vixen like attractiveness combined with extreme confidence, she uses her feminine wiles to get a foot through the door and when she has a man in her sights they had better look out because when in charm mode she has an irresistible aura," the magazine wrote. Schwarz says that when Business F1 published allegations "the consequences for me were immediate. I lost the business I had built over 25 years and had to let go of everyone working in my companies." In August 2023, Schwarz filed a lawsuit in Florida for defamation against Dorilton, Business F1 and the Formula One company itself for apparently licensing its name to the publication. F1 later settled Schwarz's case under terms that remain confidential. Future Legal Proceedings In late 2025, Schwarz countersued Dorilton over her dismissal and added De Putron as a defendant, claiming he interfered with her contract and oversaw the Business F1 piece because she declined to carry out orders from her that she considered discriminatory and kept asking questions about Williams Racing's Bermuda operations. There are two cases going on in the same New York state court. In one, Dorilton is suing Schwarz for breach of contract and fraud, alleging she improperly charged them $6.9m (£5.13m). In the other, Schwarz is suing Dorilton, De Putron and Williams IP Holdings for libel and complaints arising from her dismissal and the Business F1 piece. In April, Schwarz revived her action against Business F1, filing a standalone libel lawsuit in Florida. The Florida court has scheduled a trial date in June 2027.

The LeadMilo Rau, once the enfant terrible of continental European theatre, finds himself in an uncomfortable position. As the artistic director of Vienna's Wiener Festwochen festival, he has done something he explicitly hates: canceling a guest. The Swiss theatre-maker first invited, then disinvited American tech billionaire Peter Thiel, calling it a decision that made a wall visible. This controversy has placed Rau's own moral judgment on trial, raising questions about the boundaries of political theatre in an increasingly polarized world.The Political Theatre ExperimentSince taking over the Vienna festival in 2023, Rau has transformed one of Europe's major multi-arts festivals into a highly politicized forum for debate. While concerts, dance performances, and traditional theatre still form the core of the program, Rau has rebranded the Festwochen with a conceptual framework as the "Free Republic of Vienna." At its core sits a format he invented almost two decades ago with his production company The International Institute for Political Murder: the "tribunal." Rather than putting on conventional plays, Rau organizes staged hearings featuring real witnesses, real arguments, and symbolic judgments handed down at the end.The power of Rau's early tribunals was founded in the Brechtian idea of the dramatic stage as a forum for critical thinking: theatre, it asserted, can provide a more structured arena for debate than talkshows or podium discussions. "Theatres are not only reserved for art," says Wolfgang Höbel, theatre critic of Der Spiegel. "In that sense Rau is the most important political theatre-maker in Europe today."The Thiel ControversyThe motto of this year's Vienna festival is "Republic of Gods." Peter Thiel, the German-born co-founder of PayPal and Palantir, a longstanding supporter of Donald Trump's political universe and a man with a taste for apocalyptic theology and far-right ideas, initially seemed a perfect fit for the theme. However, many disagreed. "I was faced with the threat of boycotts," Rau admits. Several productions threatened to pull out if Thiel were to attend. "I had to react to that as festival director, so I cancelled my own panel and disinvited Thiel."The Austrian weekly Falter called it a fiasco. Exactly who threatened to boycott the Vienna festival in the event of a Thiel appearance remains a mystery. Vienna's cultural politics are dominated by the Social Democrats, and many of their more conservative voters certainly did not relish the prospect of a Trump-supporting tech billionaire being welcomed at a publicly funded festival. Rau has said that his advisory body, the Council of the Republic, supported the invitation and did not want to cancel it.The Evolution of Rau's MethodRau's tribunal format became his calling card, but more recently it has started to look like the cause of perennial trouble. At the 2013 Moscow Trials, he brilliantly exposed the absurdity of Putinist justice by turning the show trial against Pussy Riot back on itself. The feminist punk collective had been sentenced to two years in a Russian penal colony for performing a protest song against Vladimir Putin in Moscow's Cathedral of Christ the Saviour. "It was a surreal experience to see Putin's priests and gay activists sit next to each other on stage," remembers Rau: "Today this would be impossible."In 2015, the Congo Tribunal was rough, experimental theatre with a political charge: a grassroots civil court investigating war, extraction and the involvement of mining companies in eastern Congo. The Guardian called the Congo Tribunal one of the most ambitious pieces of political theatre ever. A mining minister and an interior minister of one of the Congo provinces resigned after the performance.The Critics' PerspectiveNot everyone has been convinced by Rau's approach. Esther Slevogt, editor in chief of the online theatre magazine Nachtkritik, called it "artivism." Rau himself has placed his tribunals in the tradition of the Nuremberg trials. "I found his arrogance striking," says Slevogt today. "These are different things." She is troubled by a format that, in her view, blurs the line between fiction and reality. "In times when everything is already simulation, we don't need more of it."Recently, not just the relationship between Rau and theatre critics but also with his audiences seems to have soured. In Hamburg this winter, his Trial Against Germany at the Thalia theatre became a scandal in its own right. Rau had assembled a jury that was asked to consider over three days whether the far-right Alternative für Deutschland (AfD) party was unconstitutional and should be banned. But the jury included many familiar faces who already get to regularly air their views on television and in print, as well as a former co-leader of the AfD, Frauke Petry. Rather than using the theatre to concentrate debate, it seemed to amplify the hubbub of content swirling around outside it.The Future of Political TheatreRau seems to have answered his critics by becoming even more productive. While in the middle of his third year as festival director in Vienna, he is also trying to attend performances of The Pelicot Trial, which he developed with the French dramaturg Servane Dècle. The production is now touring, with dates in Bergen, Oslo and Copenhagen. It pays tribute to Gisèle Pelicot, who, Rau says, has become "an icon of resistance" against sexual violence committed by men. He claims that the real Pelicot came to see the performance in New York and told him: "The actress plays me better than I could do it myself."Not all French reviewers have applauded his re-enactment. "I saw the research and the synthesis, but I did not see a reflection," says Anne Diatkine, a theatre critic for the French daily Libération. She found the production "superficial and opportunistic … He did not add anything to what we knew already from the real trial."Still, Rau's mock trials run and run. The debates are real, and the stage gives radically different voices a curated setting in which no opinion is excluded. Except now Peter Thiel's, of course. The acclaimed Austrian film-maker Ruth Beckermann, listed as a member of Rau's advisory council, admires his tribunal concept but believes he should have stuck with the invitation. "Rau should have stuck with the invitation of Peter Thiel and not buckled," she says. "She would have liked a debate in which Thiel had to discuss his ideas on equal terms with others."

The Unplanned IntermissionAudience members at a matinee performance of The Tempest at the Royal Shakespeare Company's Stratford-upon-Avon theatre experienced an unexpected disruption when a baby gurgled and cooed throughout the entire first half of the production. The incident, which occurred during Kenneth Branagh's highly anticipated return to the RSC after 30 years, led to audience complaints and requests for refunds as the noise affected concentration on Shakespeare's seminal play.Performance InterruptedThe disturbance began during the opening scene of The Tempest, in which Branagh's character Prospero conjures up a violent storm. According to audience members, the baby appeared to wake up during this pivotal moment and continued making noises without interruption."There was a young woman with a baby in the audience – and it mithered all the way through the first act," ticketholder Sian Morgan told the Daily Mail. "Thank goodness there was never any actual screaming or crying, but it was gurgling and cooing and chirping very loudly throughout. It never let up."The situation escalated as audience members grew increasingly frustrated, with "queues of people lining up to complain" at ticket desks. The mother and baby were eventually asked not to return for the second part of the performance and were offered the option to watch the remainder of the show from TV monitors in the theatre's cafe.High-Stakes PerformanceThe financial and cultural significance of this performance cannot be overstated. Tickets for Branagh's return to the RSC cost up to £112 and sold out within hours of going on sale the previous year. One audience member noted their group had made a six-hour round trip and paid £400 to attend the performance, which they felt had been "completely ruined" by the disturbance.Among those affected was former home secretary David Blunkett, who is blind and relies on hearing the performance. "I said to the person sitting next to me: 'I'm very tolerant but I'm not sure the baby's getting anything out of this,'" he said.Theatre Etiquette Under ScrutinyThe incident has brought renewed attention to theatre etiquette policies and audience expectations. The RSC's current guidelines state that babes-in-arms can be admitted to all performances, but if a child disturbs others, an adult "may need to watch the show from the screen outside the auditorium with the baby."The theatre encourages parents with young children to attend "chilled performances," which "takes a more casual approach to noise and movement in the auditorium." This recent disruption follows other high-profile incidents of audience etiquette issues, including Rosamund Pike calling out an audience member for texting during a pivotal scene of another production.Future of Audience ExperienceAs theatres continue to balance accessibility with traditional performance expectations, this incident may prompt further refinement of policies regarding young audiences. The high-profile nature of Branagh's return and the significant investment made by attendees highlight the importance of maintaining an optimal experience for all patrons while still being inclusive of families with infants.The RSC may consider additional measures such as more clearly designated family-friendly performances or enhanced sound-dampening sections to accommodate different audience needs without compromising the artistic experience for traditional theatre-goers.