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The Artist's Background and Achievements At 29, Rene Matić is the youngest ever person to win the £30,000 Deutsche Börse Photography Foundation prize. They were nominated for their solo exhibition As Opposed to the Truth at CCA Berlin – there is currently a much smaller reconfiguration representing part of the show at the Photographers' Gallery in London. Matić was also the youngest artist ever to be nominated for the Turner prize last year. Notable Works and Artistic Approach There are things I like about Matić. I like the way they challenge what counts in life and art, and what counts as British. Their 2022 work, Upon This Rock – a photographic installation and a film exploring the artist's father, Paul, and his involvement with the skinhead movement – felt like it was breaking new ground, conceptually and materially. Matić's yearning to understand masculinity and fatherhood as forces shaping national identity, and the way they incorporate new stories into the folds of Britain's historical fabric, felt original and exciting. Prize Recognition and Its Significance The Deutsche Börse Photography Foundation prize is one of the most prestigious awards in contemporary photography, carrying a £30,000 prize. Matić's win at such a young age marks a significant moment in the art world, particularly as they identify as a queer, working-class person of colour. The fact someone from this background won this award is good as a statement for what the Deutsche Börse prize can stand for in terms of diversity and representation. Critical Assessment of Current Exhibition Yet a lot of Matić's other work doesn't feel mature enough for the photographer to have taken the prize so early in their career. The installation Feelings Wheel, a series of diaristic snapshots which is shown at the Photographers' Gallery, feels like something you'd paste on your wall or Tumblr at university. They are pretty mediocre pictures, safe from Instagram censorship, and arranging them in Perspex doesn't make them more interesting. I find there is an annoying insularity, a sense of preaching to the converted, whereas the most effective art builds bridges between artist and viewer, allowing people who aren't part of the gang to understand it and be moved by it, too. Comparisons to Influential Photographers Too often, Matić's images are only made interesting by the different ways they display them in assemblages, spatial and sculptural configurations. Their work draws comparisons with Wolfgang Tillmans or Nan Goldin, who both photographed their own subcultures and communities, but with more edge and verve. With slideshows to music (in the case of Goldin's The Ballad of Sexual Dependency) and multi-format installations responding to the space (Tillmans), both photographers cast aside the traditional focus on a single image, creating new ways of looking at multiple photographs that Matić adapts but doesn't quite move forward. Broader Implications for Contemporary Photography There's nothing wrong with art that focuses on identity – especially identities that have been consistently erased and ignored in this country. But based on what Matić has done for photography, I don't think they should have won. Autobiography can't be the only thing a work has to offer. I am not sure what's really radical or nuanced about Matić's photographs of flags and tattoos, or people kissing at Glastonbury. At times, the vulnerability and compassion seems performative rather than sincere, and there's not enough tension – questions in the work for the viewer to resolve. The Future of Matić's Artistic Development Leaving the exhibition, I felt flat – though there are ideas, they need more time to percolate. What this win seems to tell us about photography now is that how you market yourself is possibly more important than the work you make. Matić clearly has potential, as evidenced by their more conceptual works like Upon This Rock, but the current exhibition suggests they may have been recognized before their artistic voice has fully developed. The challenge for Matić will be to build on the conceptual foundations of their strongest work while developing a more distinctive photographic language that doesn't rely solely on presentation techniques to generate interest.

The Resilience of a Russian Auteur in ExileDirector Andrey Zvyagintsev has defied the odds to return to the international stage. After a year-long ordeal with severe Covid-19, he is premiering his new film, 'Minotaur,' at Cannes, symbolizing the endurance of artistic expression despite personal and political adversity.Surviving the Pandemic: A 90% Lung Damage BattleZvyagintsev’s journey back to health was arduous. Stranded in a clinic in Hanover, Germany, he faced a critical health crisis.Physical Toll: Suffered from 90% lung damage and was unable to move or feel his limbs for months.Duration: Spent a total of 11 months in various hospitals.Emotional Impact: Learned of the invasion of Ukraine while paralyzed and bedridden, experiencing deep despair.Despite the paralysis, he managed to channel his anguish into his work, relearning to walk and hold a spoon before returning to film-making.The Economic and Geopolitical Cost of Artistic SilenceZvyagintsev’s nine-year absence from cinema represents a significant void in the global film landscape. As a director whose work often critiques Russian state oppression, his silence during the war in Ukraine was felt keenly by critics.Exile: He has chosen to live in France, the country that cemented his reputation with 'Leviathan' in 2014.Political Stance: His films, such as 'Leviathan' and 'Loveless,' have been interpreted as allegories for the apathy and oppression under the Putin regime.Industry Impact: Julian Graffy noted that the loss of his voice has been the most keenly felt among the new wave of directors.Cannes as a Safe Haven for Dissident VoicesThe Cannes Film Festival serves as a crucial platform for Zvyagintsev, allowing him to bypass the censorship and restrictions of his home country. His return to the red carpet is not just a personal victory but a statement on the resilience of culture.Competing for the Palme d'Or against heavyweights like Pedro Almodóvar and Asghar Farhadi, Zvyagintsev's presence underscores the festival's role in amplifying voices from regions under political duress.The Future of Russian Cinema in the WestZvyagintsev’s return suggests a potential resurgence of Russian cinema outside of Russia. As artists face the choice between exile and silence, the international community becomes the new stage for their narratives.With 'Minotaur' premiering, the industry watches to see if this comeback will translate into critical acclaim and whether it will inspire other Russian artists to continue their work on foreign soil.

The LeadOsaurus has introduced an innovative open-source, Apple-only LLM server that allows Mac users to seamlessly switch between local and cloud AI models while maintaining data privacy on their own hardware. This development addresses growing concerns about AI token costs and security by providing a user-friendly interface that runs AI in a hardware-isolated virtual sandbox.The Evolution from Dinoki to OsaurusOsaurus evolved from the idea for a desktop AI companion called Dinoki, which Osaurus co-founder Terence Pae described as a sort of "AI-powered Clippy." Dinoki's customers had questioned why they should buy the app if they still had to pay for tokens—the usage units AI companies charge for processing prompts and generating responses. This concern led Pae to develop Osaurus as a solution that allows users to run AI locally on their Macs, accessing files, browsers, and system configurations without relying on cloud services.Technical Capabilities and Model SupportOsaurus can flexibly connect with locally hosted AI models or cloud providers like OpenAI and Anthropic, allowing users to choose which AI models best fit their needs. The platform supports various models including MiniMax M2.5, Gemma 4, Qwen3.6, GPT-OSS, Llama, and DeepSeek V4. It also supports Apple's on-device foundation models, Liquid AI's LFM family of on-device models, and cloud connections to OpenAI, Anthropic, Gemini, xAI/Grok, Venice AI, OpenRouter, Ollama, and LM Studio. As a full MCP (Model Context Protocol) server, it provides access to tools for MCP-compatible clients and ships with over 20 native plugins for Mail, Calendar, Vision, macOS Use, XLSX, PPTX, Browser, Music, Git, Filesystem, Search, Fetch, and more. Recent updates have also added voice capabilities.User Adoption and Market PositionSince launching nearly a year ago, Osaurus has been downloaded over 112,000 times according to its website. The platform distinguishes itself from similar tools like OpenClaw or Hermes by offering an easy-to-use interface for consumers rather than developers, while addressing security concerns through a hardware-isolated, virtual sandbox that limits the AI's scope and keeps users' computers and data safe. Currently, Osaurus' founders, including co-founder Sam Yoo, are participating in the New York-based startup accelerator Alliance.The Future of Local AI and Business ApplicationsOsaurus' founders are exploring potential business applications, particularly in sectors like legal services and healthcare where running local LLMs could address privacy concerns. The team believes that as local AI models become more powerful, they could reduce demand for AI data centers. Pae noted that "the intelligence per wattage—which is like the metric for local AI—has been going up significantly," with local AI evolving from barely being able to finish sentences last year to now being able to run tools, write code, access browsers, and perform various tasks. The vision is for businesses to deploy Mac Studios on-premise, using substantially less power than traditional data centers while maintaining cloud-like capabilities.

A Global Celebration of Visual Storytelling For the 15th installment of the annual Photoville festival, which sees more than 90 exhibits of photographic portfolios from all around the world, festival co-founder Sam Barzilay is thinking about apples – specifically the bizarre and at times cosmic-looking ones in the exhibit Old Apples. "I was so delighted it got selected," he enthusiastically shared. "It's the most whimsical thing we have, it's about apples and how there are no two apples in nature that are the same." Diverse Exhibitions Reflect Contemporary Society With exhibitions celebrating everything from cumbia music to the many ways people play soccer globally and even a fox sanctuary, Photoville may be more whimsical than ever, but the show also delivers a satisfying range of the hard-hitting reportage and documentation that have made prior years so vital. Collections this year run the gamut from turbocharged wildfires in the western US to how racial inequalities affect water access to the ways in which ICE has brought chaos to many American communities. Amplifying Marginalized Voices Through Photography In light of efforts by the Trump administration to erase the reality of trans people, Photoville offers two exhibits that attest to the enduring nature of trans lives. Special Girls, which draws from the mammoth archive of photographer Remsen Wolff, shows off 1990s-era photos of trans women, as well as gender nonconforming individuals such as crossdressers and drag queens. "The world has changed dramatically from then to today," said Barzilay, "this is a celebration of the fact that this is not a new idea." Documenting Human Resilience in Challenging Circumstances Lexi Parra's portfolio of work The Avillas documents what happens after the titular family's matriarch self-deports amid terrifying threats directed toward immigrants in the United States by the Trump administration. The photos make for an extremely difficult reminder of what happens when a beloved member of a family is torn away from it. "It's looking at their lives today as they try to figure out what to do next," said Barzilay. The extremely moving collection Puppies Behind Bars is the fruit of the nearly two years that photographers Ashley Gilbertson and Ava Pellor spent in the men's maximum security Green Haven, documenting the titular program wherein those incarcerated raise puppies to become service dogs. "The dogs humanize an environment that's devoid of all humanity," said Gilbertson. "It gives men who have committed grave crimes against society a chance to do something, it gives men a chance to show weakness and vulnerability to be emotionally open and playful, it gives them a sense of responsibility." Cultural Preservation Through Visual Documentation The Women's Grass by Blackfeet Nation photographer Whitney Snow documents that intricate web of cultural knowledge and practice that has grown around sweetgrass. Long used by the Blackfeet in both religious ceremonies and as medicine, the plant is the province of the tribe's women, who have passed down knowledge of sweetgrass from generation to generation. "Women are held to a very high regard in our society," Snow said. "To have plant knowledge like that is considered very prestigious." The Future of Documentary Photography Festivals As Photoville continues to grow in its 15th year, it represents a vital platform for photographers addressing pressing social issues while also celebrating the beauty and diversity of human experience. The festival's ability to balance whimsical, light-hearted exhibitions with profound social commentary demonstrates the power of photography to both comfort and challenge viewers. In an increasingly polarized world, events like Photoville provide spaces where diverse perspectives can be shared and understood, suggesting that documentary photography festivals will continue to play an essential role in fostering empathy and understanding in the years to come.

The Ambitious Vision Behind 'Of Earth and Wires'Dua Saleh's sophomore album "Of Earth and Wires" represents a bold artistic statement that attempts to weave together spoken-word poetry, screamo rap, acoustic guitar, and falsetto vocals into a cohesive narrative about global catastrophe. The Sudanese-American musician, known for collaborations with Travis Scott and their role as Cal in Netflix's "Sex Education," draws inspiration from fears of climate collapse, AI dominance, and the civil war in Sudan to create what might be described as a post-apocalyptic sequel to their debut record.Musical Diversity Meets Narrative CautionThe album opens with "5 Days," a track that showcases Saleh's impressive vocal range and genre-blending capabilities, transitioning from Perfume Genius-like tremulous vocals to a screamed frustration that promises an exhilarating journey. However, the album quickly reveals itself to be more restrained than its urgent themes would suggest. Tracks like "I Do, I Do" incorporate Sudanese proverbs and oud instrumentation, while "Flood" features a falsetto exchange with Bon Iver around themes of biblical rebirth and climate extremes. "Firestorm," a love song set against the LA fires, lacks the emotional heat its premise promises, with references to burnt-tyre fumes feeling like mere set dressing rather than integral to the narrative.The Album's Place in Contemporary Music Landscape"Of Earth and Wires" arrives at a time when artists increasingly feel compelled to address global crises in their work. Saleh's unique position as a Sudanese-American queer artist gives them a distinctive perspective on these issues, yet the album's cautious approach prevents it from fully capitalizing on this potential. While the warm, earthy production values create an inviting atmosphere, they sometimes soften the edges of the difficult subjects being addressed, resulting in a collection of tracks that are pleasant but not as impactful as they could have been.The Future of Dua Saleh's Artistic JourneyDespite its shortcomings, "Of Earth and Wires" demonstrates Saleh's unique artistic voice and their ability to blend diverse musical elements into a cohesive whole. The album's choral closer "All Is Love," while not landing as forcefully as intended, suggests a willingness to explore emotional vulnerability that could be developed further in future work. As Saleh continues to refine their craft, there's reason to be optimistic that they will find the balance between ambitious themes and the bold execution that this album sometimes lacks.

The LeadEnsemble Modern and HK Gruber's album "Dancing on a Volcano" presents an eclectic snapshot of musical Germany between 1920 and 1933, capturing a creative era that would be suppressed by the Nazi regime. This live recording features works by composers who ultimately fled Germany, their music deemed "too modern, too jazzy, too Jewish" by the rising fascist power.The Musical Landscape of Pre-War GermanyThe album showcases four distinct voices from this turbulent period. Hindemith's Kammermusik No 1, premiered in 1922, was controversially described as having "a lewdness and frivolity only possible for a very special kind of composer." Gruber's performance embraces its neo-classical spikiness and jazz-age energy with almost cartoonish glee.In contrast, Korngold's 1920 music for Shakespeare's Much Ado About Nothing represents Viennese neo-Romanticism, which Gruber leavens with a pinch of acerbic wit. Schoenberg's Accompaniment to a Cinematographic Scene, premiered in 1930 under Klemperer, offers eight minutes of existential angst in Johannes Schöllhorn's lean-textured 1993 chamber version.The Historical Context and Cultural SignificanceThe period represented by this album—1920 to 1933—encompasses the Weimar Republic, a time of extraordinary cultural flourishing in Germany despite economic and political instability. The featured composers represent the diversity of musical expression during this era, from Hindemith's modernism to Korngold's Romanticism to Schoenberg's atonality.What makes this recording particularly significant is how it captures music that would soon be suppressed by the Nazi regime. The album's title itself, "Dancing on a Volcano," evokes the sense of living on the edge of catastrophe that characterized this period.The Legacy of ExileAll four composers featured on this album ultimately left Germany and settled in the United States, forced into exile by the Nazi regime. Their departure represented a profound brain drain for German musical culture, as these composers had been at the forefront of musical innovation.The jewel in the crown of this recording is Gruber and Christian Muthspiel's Kurt Weill Foundation-sanctioned arrangement of The Seven Deadly Sins. Wallis Giunta's performance, more opera diva than Weimar chanteuse, delivers no shortage of bite, while Amarcord's male quartet kvetch and wheedle as her rapacious family. Gruber's razor-sharp yet flexible interpretation drips idiomatic venom.Contemporary Relevance and Musical ResilienceThis album serves as both a historical document and a vibrant musical experience. The works featured demonstrate not only the creativity of this period but also the resilience of art in the face of political oppression. By recording these pieces today, Ensemble Modern and HK Gruber ensure that this important chapter in musical history continues to be heard and appreciated.The recording is available on streaming platforms, making this historically significant music accessible to new audiences who might otherwise never encounter these works. In an era where political polarization once again threatens artistic freedom, this album serves as both a reminder of what was lost and a celebration of what endures.

Executive Overview: A Fresh Take on the Robinson Crusoe MythThe Guardian’s review frames *Cast Away* as a gripping portrait of Alexander Selkirk, the real‑life inspiration for Daniel Defoe’s Robinson Crusoe. De Tores blends meticulous maritime detail with a stark interiority, turning a solitary survival story into a meditation on identity and excess.Historical Foundations and Narrative ScopeSet on the remote island of Más a Tierra, 400 miles off Chile’s coast, the novel anchors itself in the true‑to‑life circumstances of Selkirk’s 1704 marooning. De Tores expands the historical canvas by weaving Selkirk’s earlier involvement in the failed New Darien colony and his turbulent Scottish upbringing into the present‑day isolation narrative.Alexander Selkirk – 18th‑century Scottish privateer whose ordeal inspired Robinson CrusoeMás a Tierra – the island where Selkirk survives for four yearsNew Darien venture – a disastrous Scottish colonisation attempt referenced in the novelCharacter‑Driven Storytelling as the Core EngineDe Tores’s strength lies in turning Selkirk into an “adorably reprobate anti‑hero.” The review highlights his three‑day drunken binge, relentless goat‑hunting, and compulsive onanism as both comic relief and a window into his fractured psyche. The novel’s prose oscillates between gritty survival manuals and lyrical reflections, such as Selkirk’s Bible‑derived erasure poems and his awe of hummingbirds described as “strange and shimmering machines of air.”Pricing, Publisher Backing, and Award ContextThe book is published by Bloomsbury at £18.99. De Tores’s previous historical novel *Saltblood* won the 2024 Wilbur Smith adventure writing prize, establishing her credibility within the genre and likely contributing to Bloomsbury’s confidence in a mid‑price hardcover launch.Implications for Historical Maritime FictionBy stripping conventional genre ballast and focusing on internal conflict, *Cast Away* signals a shift toward more introspective, character‑centric narratives in maritime historical fiction. The Guardian notes that the novel’s detailed survival techniques could serve as “how‑to guides” without becoming tedious, suggesting a market appetite for authenticity paired with literary ambition.Future Prospects for De Tores and the GenreIf the novel’s critical reception translates into solid sales, it could encourage publishers to back similarly ambitious projects that prioritize psychological depth over expansive plot. De Tores’s blend of rigorous research, dark humor, and philosophical inquiry positions her as a leading voice shaping the next wave of literary historical fiction.

The LeadRenowned actress Linda Bassett reflects on her distinguished career spanning decades of theatre work, her celebrated collaboration with playwright Caryl Churchill, and her upcoming role in Alexander Zeldin's "Care" at the Young Vic. Known for her understated yet powerful performances, Bassett shares insights into her approach to acting and the profound impact of theatre on her life.The Career JourneyBassett's path to acting wasn't conventional. Despite coming from a non-theatrical family, she discovered her passion at age four when she was unexpectedly thrust into a Sunday school Easter play. "I was in bliss," she recalls. Her formative years included ushering at the Old Vic during Laurence Olivier's legendary tenure, where she witnessed groundbreaking performances and even sold ice creams during intermissions.After briefly studying English at Leeds University, where she focused on drama rather than academics, Bassett began creating devised work in Leeds and Coventry. This experience, she suggests, "made me a bit gobby," developing her confidence to make suggestions as an actor, though she admits she sometimes oversteps when working with certain playwrights.The Churchill ConnectionBassett's most significant artistic relationship has been with playwright Caryl Churchill, beginning with "Fen" in 1983 and continuing through to "What If If Only" in 2021. She describes auditioning for Churchill as "enormous" because it launched her on a particular trajectory. Her disconcerting clarity has made her a peerless interpreter of Churchill's work, which some audiences find forbidding."They're not hard to watch," Bassett protests of Churchill's plays. She recalls her iconic monologue in "Escaped Alone" where the phrase "terrible rage" is repeated 25 times in succession. "It was the only thing to say at that point. The words fed the feeling, and it was the audience who felt it, not me, which is ideal." Churchill's writing, she notes, is "so distilled, no excess baggage," requiring actors to find "the one way" to play them.From Call the Midwife to CareDespite notable film roles including "East Is East" and "Calendar Girls," many audiences know Bassett as stern nurse Phyllis in the BBC's "Call the Midwife." "Complete strangers come up and say, I love you. My wife loves you, my mother loves you. It's extraordinary," she remarks of the public's connection to the character. Despite playing Phyllis for over a decade, she found fresh aspects to explore, learning "how to be" more matter-of-fact and practical than her natural disposition.Currently rehearsing Alexander Zeldin's "Care" at the Young Vic, Bassett plays Joan, a woman who after caring for her family begins showing signs of dementia and needs care herself. "She's convinced, as many people are, that she's just in for respite. She never loses the idea that she's going home," Bassett explains. The role draws from personal experience; after a heart attack, she spent two weeks recuperating in a care home, giving her "an insight into what it's like when you become helpless."The Actor's Philosophy"Every part is an education," Bassett states. "That's the glory of being an actor. You learn about human feelings and frailty and rottenness. The writer puts their soul on the page, and you inhabit that. I've always felt I was a writer's actor." This philosophy has guided her selective approach to roles, resulting in a "remarkably free of crap" CV despite turning down numerous opportunities.Though she hasn't performed as many classics as she might have hoped—"I think I'm seen as a working-class actress"—Bassett values the authenticity she brings to her roles. With Zeldin directing "Care," she appreciates his desire for "absolute truthfulness," which "suits me down to the ground." As she prepares for this new challenge, she acknowledges the nerves: "Every new part you're starting again. It's a bit scary, but I think we'll be all right."The Future of TheatreAs a veteran performer who has witnessed theatre's evolution, Bassett remains committed to the medium's power. She recalls the impact of Ronald Pickup's messenger speech in Peter Brook's production of Seneca's "Oedipus": "People fainted every night. You didn't see anything, his voice was enough. That's the power of theatre, isn't it?"Looking ahead, Bassett continues to seek roles that challenge her and explore the human condition. Whether through her meticulous interpretation of complex playwrights like Churchill or her willingness to portray the vulnerability of aging in "Care," she remains dedicated to the craft that has defined her life. "Every part is an education," she reiterates, and with each new role, Linda Bassett continues to learn, grow, and enrich the theatrical landscape.

SpaceXAI has lost more than 50 researchers and engineers since its February merger, sparking concerns about its AI roadmap.Mass Exodus from SpaceXAI After MergerThe newly rebranded entity, formed when SpaceX acquired xAI, has seen a wave of exits across coding, world‑model research, and the Grok voice team. High‑profile leaders, including team lead Juntang Zhuang, have departed, and rival firms are actively recruiting the talent.Departure Surge Across Core Pre‑Training TeamPre‑training, the foundational step for building large AI models, now operates with only a handful of engineers. At least 11 former xAI staff have joined Meta, while 7 have moved to Thinking Machine Labs, Mira Murati’s startup.Numbers Reveal Scale of Talent DrainMore than 50 total departures since February11 employees defected to Meta7 employees joined Thinking Machine LabsTwo co‑founders left shortly after the mergerStrategic Risks for SpaceXAI’s AI AmbitionsThe loss of pre‑training experts threatens the company’s ability to develop competitive large‑scale models. Internal sources cite Elon Musk’s “extreme work” culture and unrealistic deadlines, which have led to corners being cut on projects like Grok. Additionally, generous share‑sale tenders may be prompting staff to cash out rather than stay for a long‑term build‑out.What the Future Holds for the Merged EntityIf the talent gap widens, SpaceXAI could delay or scale back its model‑training roadmap, potentially ceding ground to better‑resourced rivals. Conversely, the company may double down on financial incentives to retain remaining staff or accelerate hiring from the broader AI talent pool. Stakeholders will be watching upcoming product announcements for signs of whether the exodus has been mitigated.