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The V&A; East museum in east London has finally opened its doors, offering a diverse and rich collection that celebrates art, design, and culture from around the world. Outside the museum, a five-meter-tall sculpture by Thomas J Price stands as a generic representation of east London youth, sparking concerns about the homogenization of individuality.Upon entering the museum, visitors are greeted with a delightful gallery showcasing items from the new museum's collection. A constructivist rug by Eileen Gray complements Derek Jarman's punk set designs and costumes by Vivienne Westwood and Rei Kawakubo. Althea McNish's glorious printed fabrics take center stage, demonstrating how a designer working within mass production infrastructures can have a profound influence on post-war Britain's look.The museum's collection explores themes of colonial expansion, imperial violence, and the integration of art into everyday life. A display on William Morris's connection to nearby Walthamstow highlights the importance of pegging objects to their place of production. A sinuous wooden armchair by Alvar Aalto and a talismanic shirt inscribed with the Qur'an showcase how everyday items can be invested with restorative properties.The museum's curatorial strategy encourages visitors to choose their own route and make their own connections. The inaugural temporary exhibition, 'The Music Is Black: A British Story', uses headphones with a sensor to guide visitors through a labyrinth of videos, costumes, sculptures, and photographs chronicling Black British music.

A Parisian software engineer, Ari Hodara, has won a €1m Picasso painting in a charity raffle. The painting, 'Head of a Woman', was created by Pablo Picasso in 1941 and is part of the artist's collection.Hodara purchased a €100 ticket for the '1 Picasso for €100' lottery, which aimed to raise funds for Alzheimer's research. He was informed of his win via a video call from Christie's auction house in Paris and initially questioned whether it was a hoax.The raffle, organized by French television producer Péri Cochin, sold 120,000 tickets, generating €12m in revenue. Of this amount, €1m will be donated to the Opera Gallery, which owned the painting.The painting, 'Head of a Woman', is a portrait of Picasso's longtime muse and partner, Dora Maar. It was painted in the same studio where Picasso created his 1937 masterpiece, Guernica.This is the third iteration of the Picasso raffle, which has raised over €10m for cultural and humanitarian causes in previous years.

The documentary Kinaesthesia delves into the dreamlike qualities of early cinema, showcasing a treasure trove of visions from the 1910s and 1920s. Director Gerald Fox draws on the theories of late Harvard film studies professor Vlada Petrić, who posited that early cinema pioneers employed techniques to activate the brain similar to those experienced during dreams.Luis Buñuel's Un Chien Andalou, co-written with Salvador Dalí and inspired by their dreams, is a seminal work featured in the documentary. Its surreal images, including a razor slicing through an eyeball and rotting donkeys strapped to grand pianos, continue to shock and disturb nearly a century later.The film is a greatest hits collection of experimental early cinema, featuring works by FW Murnau, Fritz Lang, Sergei Eisenstein, and Oleksandr Dovzhenko. Notably, it includes Teinosuke Kinugasa's A Page of Madness, a 1926 film set in a psychiatric hospital that was long believed lost but later found in a sake barrel.The documentary also highlights the contributions of avant-garde filmmaker Maya Deren, with a dedicated section showcasing her brilliance. While the narration by Fox can be somewhat hammy and the dramatic sections featuring Goran Kostic as Professor Petrić add little value, the film remains required viewing for anyone interested in the history of cinema.Kinaesthesia is set to release in UK and Irish cinemas from April 17, 2026.

A remarkable fossil discovery in Victoria, Australia, has revealed that giant echidnas once roamed the region. The Owen's giant echidna, Megalibgwilia owenii, lived during the Pleistocene epoch, which began 2.5 million years ago.The fossil, discovered in the Buchan cave complex in East Gippsland, is a significant find, as it fills a 1,000km gap in the species' known distribution. Previously, specimens of the extinct monotreme had been found across Australia, from Western Australia to Tasmania, but mysteriously absent from the fossil record in Victoria.The Owen's giant echidna was about twice the size of Australia's modern echidnas, growing up to 1 metre long and weighing up to 15kg. Its skeleton is much more robust than that of comparably sized animals, with deeper, more prominent muscle scars and larger attachments for ligaments, indicating it was using much greater force when interacting with the landscape.According to Tim Ziegler, the collection manager of vertebrate palaeontology at the Museums Victoria Research Institute, the fossil was likely used for digging for buried larvae, larger prey of beetles, or bogong moths, or tearing tree bark to access food.The research, published in Alcheringa: An Australasian Journal of Palaeontology, provides new insights into the distribution and habitat of the Owen's giant echidna during the ice age.

A shocking case of mistaken identity has come to light involving British Gas, a leading UK energy supplier. A homeowner, IW from Northampton, received a £571 bill for a flat they had never occupied or owned. The error occurred because British Gas's tracing agents mistakenly linked IW's address to that of a debtor.IW reported that British Gas opened an account in their name for the incorrect address and sent the hefty bill. When IW disputed the charge, British Gas declined to investigate further, citing a lack of proof that they did not live at the address in question. The company requested a tenancy agreement or mortgage statement, which IW could not provide as they had long since paid off their mortgage.The situation escalated when British Gas threatened IW with a debt collection agency. Despite IW providing bank statements as evidence of their innocence, British Gas ignored this documentation and did not question the competence of the tracing agent used to locate debtors.It was only after IW got involved and contacted The Guardian that British Gas belatedly apologized and removed IW from its records. This incident highlights significant flaws in British Gas's processes for handling customer complaints and verifying identities.The case serves as a cautionary tale for consumers to vigorously dispute incorrect charges and to be aware of their rights when dealing with energy suppliers and debt collectors.

The National Gallery of Art's latest exhibition, 'Dear America: Artists Explore the American Experience', is a thought-provoking collection of over 100 works by 95 artists. This 'open letter to the nation' offers a multifaceted exploration of the American experience, delving into themes of land, community, and freedom.Upon entering the exhibition, visitors are immediately struck by the unconventional representations of iconic American symbols. The Statue of Liberty, for instance, is reimagined through the lens of South African photographer Zanele Muholi and a geometric screenprint by Roy Lichtenstein.The exhibition's curatorial approach is to create 'provocative conversations across centuries, disciplines and demographics.' E Carmen Ramos, the gallery's chief curatorial and conservation officer, notes that the show was 'years in the making' and showcases an 'embarrassment of riches' from the gallery's permanent collection of over 160,000 works.Structured around three core themes – land, community, and freedom – the exhibition presents a diverse array of works. These include Thomas Moran's idyllic watercolours of the American West juxtaposed with Thomas Hart Johnson's photographs of a landscape ravaged by coal mining and railroads. The exhibition also features poignant pieces such as Carrie Mae Weems's haunting silhouette and Gordon Parks's indelible 'American Gothic.'The show's second section, 'Community,' features Richard Avedon's massive 1976 commission 'The Family,' which comprises 69 stark, uniform portraits of the bicentennial era's political, media, and corporate elite. This is contrasted with John Wilson's tender sketches of his teenage children and their friends.The final act of the exhibition turns its lens to 'Freedom,' showcasing historical portraits of figures such as Frederick Douglass, Sojourner Truth, and George Washington, alongside powerful works by Kara Walker, Martha Rosler, and Faith Ringgold. As visitors exit, they are met with Robert Indiana's boldly coloured screenprint 'Liberty '76,' created for the 1976 bicentennial.Ramos reflects on the exhibition's significance, stating that it 'explores how artists in the United States have explored the American experience across different moments in time.' The exhibition will be on view in the National Gallery's West Building until 20 September.

The United States’ senior envoy, Vice President JD Vance, said the marathon talks in Islamabad collapsed because Iran would not abandon its nuclear weapons programme, a stance Tehran’s representatives dismissed as a lack of US goodwill. Vance, who departed Islamabad on Sunday after a 21‑hour session with Iranian officials, reiterated that Washington’s red lines required an "affirmative commitment" from Tehran that it would not pursue a nuclear weapon or the means to acquire one quickly. He described the stalemate as "bad news for Iran much more than it is for the United States." Iranian parliament speaker Mohammad Bagher Ghalibaf countered that, despite offering "constructive initiatives," the US failed to win the trust of the Iranian delegation, leaving it to Washington to decide whether it can regain that confidence. Iran’s foreign ministry downplayed expectations, stating that no one anticipated a deal in a single session and emphasizing continued regional contacts, while the semi‑official Tasnim news agency blamed "excessive" US demands for the impasse. The talks took place under a 14‑day ceasefire agreed by the US, Iran and Israel, with Pakistan’s foreign minister Ishaq Dar urging both sides to honour the pause and offering to facilitate renewed dialogue. The conflict, which began on 28 February, has already claimed over 3,000 lives in Iran, more than 2,000 in Lebanon, and dozens across the Gulf region, while inflicting extensive infrastructure damage. Israeli security cabinet minister Ze’ev Elkin warned that Iran is "playing with fire," even as he left the door open for further negotiations. These were the first direct US‑Iran talks in more than a decade and could determine the fate of the fragile ceasefire and the reopening of the Strait of Hormuz—a chokepoint for roughly 20 % of global energy supplies. The war has already sent international oil prices soaring. In addition to Vance, US special envoy Steve Witkoff and former President Trump’s son‑in‑law Jared Kushner met with Ghalibaf and Iranian foreign minister Abbas Araghchi for two hours before a brief recess. The Iranian delegation arrived in black mourning attire for the late Supreme Leader Ayatollah Ali Khamenei and carried shoes and bags belonging to children killed in a school bombing near a military compound—a strike the Pentagon says is under investigation, with some reports suggesting US involvement. Pakistani security forces sealed off Islamabad, a city of over two million, underscoring Pakistan’s newly prominent mediating role after a year of diplomatic isolation. The US military announced it was "setting conditions" to clear mines and allow warships to pass through the Strait of Hormuz, a claim Iran’s state media denied. Prior to the talks, a senior Iranian source told Reuters that the US had agreed to release frozen Iranian assets held in Qatar and other banks, a statement the US later denied. Tehran’s broader demands include control over the strait, payment of war reparations, a region‑wide ceasefire—including in Lebanon—and the collection of transit fees from shipping traffic. President Trump’s minimum objectives remain the free passage of global shipping through the strait and the crippling of Iran’s nuclear enrichment capability to prevent the development of an atomic bomb.

Designer matchboxes have transformed from a utilitarian item into a coveted home‑accessory, with luxury retailers showcasing collections that command prices up to £235.Selfridges, the high‑end department store chain, says sales of premium matchboxes have jumped 121% year‑on‑year. To meet the surge, the retailer has more than doubled its assortment, now offering over 100 styles priced between £5 and £230, and touts the product as “the must‑have home accessory for 2026”.At the top of the range sits a three‑piece set designed by Cartier, featuring panther‑embellished paper and card tubes that hold 80 matches each and retail for £235.Independent designer Jo Laing, known for ceramic‑topped matchboxes, reports a 60% increase in sales year‑on‑year. Her limited‑edition, reusable boxes now appear in Harrods and are priced at £70, with stock frequently selling out.The matchbox emerged in the late 1800s as a novel advertising canvas, evolving into an unexpected art form that displayed everything from political slogans to commercial branding.While opulent versions in silver, gold and ceramics faded after smoking bans, the recent revival shows the item’s shift from pure function to decorative status.Market analysts suggest the craze reflects tighter household budgets. Consumers, unable to justify expensive candles or décor, are opting for “little treats” that provide a touch of luxury without breaking the bank.Bia Bezamat, cultural insights director at Kantar, notes: “There’s a sustained trend for ‘little treats’ … it’s a response to cost‑of‑living pressures: people want small, affordable pockets of joy to brighten their day.”Claire Dickinson, senior strategist at WGSN Interiors, describes the phenomenon as “the homeware equivalent of the lipstick effect”, where shoppers replace high‑priced luxuries with more modest, yet still indulgent, items. She adds that these matchboxes embody the rise of “beautilities” – practical objects designed to be seen and enjoyed.Henrietta Klug, head of home at Selfridges, says the once‑functional matchbox is “re‑emerging as an object of desire”, now featured on the tables of London’s trend‑setting bars and restaurants.Five of the most expensive matchboxesDebonnaire silver matchbox – £843Diabolo de Cartier graphic‑print matchboxes (set of three) – £225Panthère de Cartier graphic‑print matchboxes (set of three) – £235Jo Laing ceramic moon matchbox – £70Refill for L’Objet matchbox – £25

As the cost of living crisis continues to bite, finding ways to lower your grocery bill has become more important than ever. Retail workers are sharing their insider knowledge on how to save money at supermarkets, street markets, and charity shops.Be Savvy About Store DiscountsMany supermarkets offer yellow-stickered items that are reduced in price due to nearing their expiration dates. These discounts can be significant, with reductions of up to 75% off. Alasdair Baker, who runs The Penny Pincher, advises shopping for these items in the late afternoon or early evening when the biggest reductions are typically applied.View image in fullscreenTiming matters … you’ll find the biggest reductions on yellow-sticker items in the late afternoon and early evening. Be AppySome grocery stores use apps such as Too Good To Go and Olio to offer discounts or free food to avoid food waste – but it can be a gamble as to what you get.Use Common SenseIf you buy something reduced on the day it is expiring, that doesn’t mean you need to eat it that day. There is a difference between “best before” dates, which are about food quality and the more important “use by” dates, which are about food safety.Be Cautious About ‘Bogof’ Deals“There aren’t as many buy one, get one free [bogof] deals now, because of new rules that came into place last year,” says Baker. These restrict promotions of products high in fat, sugar or salt.Avoid Big BrandsThe ends of supermarket aisles often feature big brands, says Baker. “They are not placed there randomly: the companies pay an awful lot of money. The idea is to try to coax people into buying those products more often.”Sign Up for a Store Card“It’s sad that we now have to essentially sell our data to the supermarkets in exchange for affordability – but such is life in 2026,” says Jenny Rogers. “If you have a store card, it is also worth getting the supermarket app, as a lot of stores will give you one or two personalised offers a week, or periodic free delivery for members.