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The Lead The 61st Venice Biennale has opened under a cloud of controversy, with protests and resignations marking the event. The Russian pavilion is present despite calls for its exclusion, while the Israeli pavilion has been targeted by protesters. The Event Details The Venice Biennale vernissage began on Tuesday under grey clouds and rain showers, as political tension, parties, and protest dominated proceedings at one of the art world's biggest events. Lubaina Himid, the British entrant, has taken over the UK's pavilion with her large-scale paintings and sound collage that recalls a 'perfect British summer's day'. The Data Analysis More than 200 artists, including Lubaina Himid and Alfredo Jaar, signed an open letter demanding the cancellation of the Israeli pavilion, which opened on Tuesday. The jury – which selects the winner of the Golden Lion prizes – resigned en masse after stating they would not consider entries from countries whose leaders were subject to international arrest warrants (a move that would bar them from including Russia and Israel). The Impact Analysis The Italian ministry of culture confirmed that the Russian pavilion would not be open to the public when the event opens fully on 9 May. However, the work, which comprises flower sculptures, will be visible through the windows. Tetyana Berezhna, a Ukrainian culture minister, told the Guardian that not opening the Russian pavilion to the public was a 'meaningful step' but that the country's 'symbolic presence' was still powerful. The Prediction This year's event is without its curator, Koyo Kouoh, the Cameroonian-Swiss arts leader who died in May 2025. The curatorial team she installed will lead the event, but the absence of Kouoh's vision and leadership may be felt throughout the event.

The Lead: A Biennale on the BrinkThe 2026 Venice Biennale opened amid a cascade of cancellations, protests and a sudden death of its visionary curator Koyo Kouoh. From jurors resigning days before the launch to Iran and the European Commission pulling out, the event was framed by turmoil before any artwork was seen. The Curatorial Crisis: "In Minor Keys" Meets Global TurmoilKouoh’s intended theme, In Minor Keys, promised "spiritual and physical rest" through quiet, contemplative works. In practice, the five‑person curatorial committee produced a disjointed mix of ceramics, textiles and serene videos that felt detached from the raging geopolitical climate – wars, fascist surges and climate emergencies. Artists from the Global South were featured but without contextual framing, echoing past biennale attempts by Okwui Enwezor in 2015.Performance moments – a naked body ringing a bell while another artist jet‑skied on urine – highlighted the absurdity of the exhibition’s calm aesthetic. The Cultural Fallout: Why the Biennale Missed Its MarkCritics note that the exhibition’s lack of overt political content makes it appear oblivious to the world outside the Giardini. The curatorial vacuum resulted in: Chaotic room layouts where unrelated works sit side‑by‑side, leaving visitors unable to discern a narrative.Over‑hung, safe‑looking displays that resemble an art fair rather than a groundbreaking biennale.Moments of genuine artistic merit – such as Seyni Awa Camara's hybrid terracotta figures and Mohammed Z Rahman's matchbox miniatures – being lost in the overall mess. The Outlook: Lessons for Future BiennalesGoing forward, the Biennale will need to reconcile its lofty artistic ambitions with the urgent political realities that audiences expect. Potential paths include: Re‑establishing a clear curatorial leadership, perhaps by appointing a successor who can honour Kouoh’s vision while integrating contemporary crises.Providing contextual frameworks for Global South artists to ensure their work resonates beyond aesthetic appreciation.Balancing contemplative spaces with overt political commentary to reflect the world’s “low notes” without ignoring its “high stakes.”li> Only by addressing these challenges can the Venice Biennale reclaim its role as the premier platform for global contemporary art.

Hyper Games launches a second Moomin‑inspired adventureBuilding on the modest success of Snufkin: Melody of Moomin Valley, the Oslo‑based studio Hyper Games has released Moomintroll: Winter’s Warmth. The title places the titular Moomin in a solitary winter night, confronting mortality, grief and the need to adapt to harsh weather – core motifs of Tove Jansson’s 1957 novel Moominland Midwinter.Platforms, pricing and early market reachAvailable on PC, Mac and Nintendo Switch from launch day.Priced at $24.99 on most storefronts, with a discounted bundle for owners of the previous Snufkin game.Initial Steam and Switch download numbers reported at 15,000 copies in the first week, driven by family‑friendly marketing.Why the Moomin ethos matters for modern gamingThe games capture Jansson’s “happy‑sad” tone, offering players gentle gameplay – snowball throwing, shovelling, and exploratory wandering – while embedding philosophical moments about death and change. By preserving the hand‑illustrated style of the original books, Hyper Games differentiates itself from the glossy, CGI‑heavy titles dominating the market, appealing to parents seeking low‑stress experiences for young children.Potential ripple effects for literary adaptationsHyper’s rigorous approval process with Moomin Characters Ltd demonstrates that faithful adaptations can coexist with creative freedom, as seen in the addition of a new character drawn from Jansson’s lesser‑known comics. Success could encourage other indie studios to explore classic literature, especially works with strong visual identities and thematic depth.Looking ahead: indie storytelling in the next wave of gamesIndustry observers predict a rise in “remix” projects that translate beloved books into interactive formats, leveraging modest budgets and niche audiences. If Moomintroll: Winter’s Warmth maintains steady sales and positive word‑of‑mouth, it may pave the way for further collaborations between literary estates and Scandinavian developers, reinforcing the region’s reputation for nature‑centric, emotionally resonant games.

The Psychedelic Bloom of Olof Dreijer's Solo DebutSwedish producer Olof Dreijer, best known for his work in The Knife and with Fever Ray, has released his debut solo album "Loud Bloom." The album represents a significant departure from his previous work, trading the Scandinavian winter gloom of his collaborations with his sister Karin for a vibrant, sun-drenched soundscape that cranes upwards like flowers toward sunlight.A Garden of Musical DelightsEach track on "Loud Bloom" bears a floral name, creating a cohesive concept of growth and blossoming. Dance music enthusiasts may recognize some tracks from EPs released as early as 2023, but together they showcase Dreijer's distinctive musical accent—identifiable sometimes from just half a second of music. The album's melodies squiggle through the air like a beach ball in a strong breeze, with distorted notes that rear up in surprise or cock their heads quizzically.Global Rhythms and Collaborative SpiritThe album's rhythms draw from diverse global traditions including cumbia, kuduro, dancehall, and techno, complicated with fiendish funk and anti-quantised detailing. Dreijer brings in charismatic guest vocalists from Sudan (MaMan), Colombia (Diva Cruz), and South Africa (Toya Delazy) who go toe-to-toe with these complex beats. This international collaboration creates a rich tapestry of sound that transcends geographical boundaries.A New Chapter in Electronic Music"Loud Bloom" represents a significant evolution in Dreijer's musical journey. While his previous work with The Knife and Fever Ray often carried a Scandinavian winter gloom despite incorporating African-Caribbean-Latin syncopation, this solo album embraces warmth and light. The later tracks on the album shift toward contemplative studies in metal strings and ambient tones, maintaining the same impetuous rhythmic sensibility while exploring new territory.The Future of Dreijer's Psychedelic GardenWith "Loud Bloom," Dreijer has created his own walled garden of psychedelia, conjuring the light and scent of a summer in bloom. This debut solo album suggests that Dreijer will continue to explore the intersection of electronic music with global influences and organic textures. As he establishes his own distinct voice separate from his collaborations with Karin, fans can expect more boundary-pushing work that challenges conventional electronic music production while maintaining accessibility and danceability.

The Rise of Frances Chang's Unique Sound Frances Chang, a Brooklyn-based musician, is gaining attention for her distinctive songwriting style, which is both magnetic and uncanny. Her music is often compared to artists like Cate Le Bon, Astrid Sonne, and Julia Holter. Exploring Chang's Musical Style Chang's songs are characterized by their internal logic, evoking a sense of uncanny domesticity. Her music features casual piano refrains, rainy percussion, and softly flaring synths. Her new single, 'No Avatar,' showcases her conversational and serene vocals. This Week's Best New Tracks Lambchop – Weakened: A simple yet beautiful ballad featuring Kurt Wagner's vocals, backed by guitar, choir, and Justin Vernon on banjo. Silvana Estrada and PabloPablo – Antes de Ti: A elegant song featuring Estrada's cuatro and a liquid, orchestral pivot. Josh da Costa – Proving Me Right: A new wave anthem with a chorus reminiscent of Sparks. Martin Brugger – Knees, Hands, Shoulders, Teeth: Ambient music with softly clanking, mournful sounds and traces of Kentucky post-rock. Bedouine – On My Own: A ballad with classic piano-driven MOR and affecting vocals. Resonant Bodies – Failed Hornpipe for Jacken: A refined and hopeful song featuring nyckelharpa and hammered dulcimer. Liz Lawrence – Exploded Into Flowers: A powerful tribute to her sister, with a robust repeating melody. Discover More New Music Subscribe to the Guardian's rolling Add to Playlist selections on Spotify or transfer it to Apple, Tidal, or other services to explore more new music.

The Psychic: A Return to Supernatural TheatreSheila Gold, supposedly Britain's most accurate psychic, wants to be taken seriously by her new clients. "This is not theatre," she warns them, as she lights seven candles for a seance. This is an insider joke, as theatre is exactly what it is—a carefully constructed illusion designed to make audiences question what they believe to be true.The Creative Minds Behind the Spiritual IllusionThe Psychic marks the return of Jeremy Dyson and Andy Nyman after the spooky stage and screen success of Ghost Stories. Now the writer-directors are unnerving audiences again with grinding sound effects and sudden lighting bursts, toying with us to believe and yet not believe in voices from beyond the grave. Where Ghost Stories was an all-male affair, this one is a female-centred tale in which 18-year-old Tara tries to inherit Sheila's fairground wisdom, while matriarch Rosa does all she can to undermine the daughter she schooled.Performances That Bridge Belief and DoubtIn the lead role, Eileen Walsh does an excellent job switching from glitzy entertainer in sparkling pink jacket and matching heels to hard-bitten operator, building on the received wisdom of 10 generations of fortune tellers. The script is littered with the language of showmen, from the jossers whose fortunes they read to the oojas who mentor them, adding to the impression of ancient knowledge being passed down. This creates a rich tapestry of performance that balances skepticism with genuine supernatural possibility.A Tale of Two Halves: Strengths and ShortcomingsDyson and Nyman request that the audience keep the plot twists secret. This is reasonable in the first half where nothing is what it seems. But in the second, the ideas dry up. With little to surprise us beyond the odd jarring sound effect, the play drifts towards Victorian melodrama: too much expository dialogue, too little tension and an ending that is uncharacteristically predictable. The Psychic ultimately delivers medium-strength storytelling that entertains but doesn't fully satisfy.The Place of Spiritual Theatre in Contemporary CultureIn an age of increasing scientific skepticism, plays like The Psychic serve an important cultural function by exploring the human desire to connect with something beyond the material world. The Psychic's exploration of spiritual fraud versus genuine supernatural possibility taps into timeless questions about belief, deception, and the power of suggestion. While this particular production may not achieve the heights of Ghost Stories, it continues a tradition of theatrical supernatural storytelling that continues to captivate audiences.

The Story Behind 'Hen' If oppressive regimes inadvertently give rise to striking artistic works of resistance, then Hen might just be a parting gift from Viktor Orbán's far-right regime. This compelling, original film, told from the perspective of a hen, was only made because Hungarian film-maker György Pálfi could no longer create anything in his home country. The Event Details Orbán's 16 years of cronyism banished any chance of funding a film in Budapest, so Pálfi – who has directed eight wildly original films – was driven into exile. Searching for a universal story he could tell even when filming in a culture or country he didn’t fully understand, he and co-writer and partner Zsófia Ruttkay settled on a biopic of a factory-farmed chicken. The Data Analysis The film begins very deliberately, by simply following the heroine hen’s birth and escape from factory-farming shackles. To tell this story, Pálfi had to mobilise eight identical leading ladies. Each was trained for two months before the shoot, to become “human friendly”. An animal trainer handled them during filming, and although Pálfi struggled to tell them apart, they soon realised that each chicken possessed a special power. The Impact Analysis Hen serves as an innocent eyewitness, through which we see the foibles of human behaviour with new clarity. At times, it almost feels as if her beady gaze is casting moral judgment. The film’s revealing scenes of factory farming – and the quiet desperation we imagine Hen feels when her eggs are repeatedly snatched – may turn audiences vegetarian, or at least away from factory-farmed chicken. The Prediction With no financial support available for independent film-making in Hungary, Pálfi headed first to Mexico, gradually developing the idea of making his star a powerless chicken, through whose adventures would be woven a human story. The film will likely inspire a new perspective on the lives of both chickens and humans, and the consequences of our actions.

The Theatricality of the Oval OfficeComedian Munya Chawawa’s new documentary, Wrestling With Trump, offers a startling new psychological framework for understanding the former president’s meteoric rise. Rather than viewing Trump’s behavior through traditional political lenses, Chawawa posits that his political style has been cribbed entirely from the world of WWE SmackDown. This theory, which Chawawa dubs the 'theory of knocking everyone unconscious,' suggests that the American political stage has been transformed into a wrestling ring where the suspension of disbelief is the ultimate weapon.Deconstructing Trump's WWE PlaybookThe documentary dissects the specific mechanics of Trump’s performance, identifying three core elements borrowed from professional wrestling that have reshaped modern politics:Hyperbole: The fact-allergic triumphalism where reality is bent to fit a narrative, exemplified by the claim that 'Michael Jordan said I’m better at basketball.'Smack Talk: Strategic rudeness and crowd-bullying, seen in nicknames like 'crooked Hillary' and 'sleepy Joe,' designed to belittle opponents while energizing a base.Kayfabe: The willingness to suspend disbelief. This concept is central to the analysis, suggesting that the audience’s belief in the 'reality' of the performance is more important than the truth itself.The Business of Politics and WrestlingThe documentary highlights the symbiotic relationship between the wrestling industry and Trump’s political career. Key moments include Trump’s infamous appearance at WrestleMania 23, the 'Battle of the Billionaires,' where he physically pushed promoter Vince McMahon. The film also notes the crossover of wrestling personalities into the political sphere, such as Hulk Hogan ripping his shirt open at the Republican National Convention in 2024. Perhaps most striking is the appointment of Linda McMahon, former wrestling executive, as the US Secretary of Education, blurring the lines between entertainment and governance.The Erosion of Reality in Public DiscourseChawawa explores the 'Attitude Era' of the early 2000s, characterized by controversy and stereotypes, as a precursor to Trump’s rhetoric. The film interviews former wrestlers who played villainous roles, such as an Italian-American who played a 'villainous Arab' and Dan Richards, who played a character called 'Progressive Liberal' beaten to pulp by crowds. This analysis extends to Chawawa’s own visit to a 'Magathering' (a Trump supporters' night), where he encounters supporters who believe they have personally investigated the '30,000 lies' Trump told in his first term—a twist that underscores the dangerous power of the 'kayfabe' narrative.The Future of Political PerformanceUltimately, Chawawa suggests that we are all now living within a script. By comparing his own experience to Louis Theroux’s forays into the manosphere, Chawawa argues that cultural and political scripts are ubiquitous. The danger lies not in the performance itself, but in forgetting that it is a performance. As the line between the theatre of wrestling and the reality of politics continues to dissolve, the challenge for the public becomes maintaining the awareness that the show is on, even when the audience believes the drama is real.

The Historic Abbey Road Listening SessionStudio Two at Abbey Road was transformed into an intimate setting for a remarkable event as Paul McCartney surprised 50 competition-winning fans with an exclusive preview of his new album, "The Boys of Dungeon Lane." The legendary musician, dressed casually in an armchair with just his guitar and memorabilia surrounding him, created a living-room atmosphere in the very space where The Beatles recorded most of their iconic hits between 1962 and 1970.A Personal Journey Through Music and MemoryOver 90 minutes, the world's most successful living songwriter took fans on a deeply personal journey, sharing memories of his youth in Liverpool, anecdotes about his friendship with John Lennon and George Harrison, and insights into his songwriting process. As each track played, McCartney mouthed the lyrics and mimed along to the instruments, visibly moved by the emotional connection to his work.The Making of "The Boys of Dungeon Lane"The album began, McCartney explained, with a chance discovery five years ago during a meeting with producer Andrew Watt. While idly playing guitar, he stumbled upon an unfamiliar chord that evolved into a three-chord sequence, becoming the opening track "As You Lie There." The record, billed as his most personal to date, turns inward to postwar Liverpool, his parents' resilience, and early adventures with The Beatles, with McCartney playing a wide array of instruments across the tracks.Emotional Connections to the Past"This was a lot of memories of Liverpool for me," McCartney shared, "but also any days we've left behind. Everyone's got them – school, old mates." The album's title track references Dungeon Lane near the River Mersey, where he roamed as a boy, and contains what he called a "secret code" and promise made to Lennon at his childhood home: "I stand by what I said, the promise that I made will never be broken."The Legacy ContinuesOutside the studio, tourists continued to gather at the famous zebra crossing immortalized on The Beatles' Abbey Road album cover, seemingly unaware of the historic moment unfolding nearby. This intimate preview at the hallowed ground where The Beatles created so much of their musical legacy represents a full circle moment for McCartney, who continues to find new inspiration while honoring his extraordinary past.