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The Lead The V&A;'s "Rising Voices" exhibition attempts to condense three decades of art from across Asia, Australia, and the Pacific into just three rooms, creating both an impressive display and significant limitations in telling the full story of the region's diverse artistic traditions. The Exhibition's Cultural Treasures The opening room features an array of remarkable works including bark cloth paintings from Papua New Guinea, Indigenous Australian abstracts, shark sculptures from the Torres Strait, and Tahitian textiles. Indigenous and First Nations artists form the heart of the exhibition, with stunning pieces like Lila Warrimou and Pennyrose Sosa's hypnotic bark cloth paintings where every shape carries specific cultural meanings. Aline Amaru's Tahitian quilt tells the story of her husband's dynastic lineage, representing the rich cultural heritage preserved through art. Art as Historical and Political Resistance Many works in the exhibition carry the heavy burden of colonial history. Elisabet Kauage depicts Melanesian figures being transported in Captain Cook's ship, while Sri Lankan artist Pala Pothupitiye paints over historical colonial maps to expose injustices. Brenda V Fajardo portrays Filipino women enduring under colonial rule. Beyond historical contexts, many artists created work under political oppression—Svay Ken painted quietly through Cambodia's Khmer Rouge regime, Heri Dono produced his grotesque cubistic works under President Suharto's dictatorship, and Maryam Ayeen and Abbas Shahsavar depict contemporary Iranian life pressures. The Exhibition's Design Limitations The presentation of this vibrant art faces significant criticism. The exhibition employs "dull, grey and depressing lighting more akin to a funeral home" that fails to showcase the bright, colorful nature of the works. A single, mournful piano ballad loops loudly throughout the space, creating an unwelcoming atmosphere that discourages prolonged viewing. These design choices undermine the powerful and often beautiful artworks they're meant to highlight. The Challenge of Comprehensive Representation The fundamental issue lies in the exhibition's scope—attempting to represent art from dozens of countries, countless Indigenous populations, and multiple continents in just three rooms. Each segment—Pakistani miniature painting, Indigenous Australian photography, Papua New Guinean textiles—deserves its own comprehensive exhibition. The current format offers merely "a barely cracked window into a vast world" without providing a cohesive narrative thread connecting these diverse artistic traditions. The Future of Global Art Exhibitions The "Rising Voices" exhibition highlights both the richness of Asia-Pacific art and the challenges of representing such diversity within institutional constraints. Future exhibitions of this scale must either commit to comprehensive, in-depth explorations of specific artistic traditions or develop stronger curatorial frameworks that can meaningfully connect diverse works without reducing their cultural significance. The V&A; has presented a glimpse into a vast world of art, but there remains immense opportunity to more fully celebrate the incredible diversity of contemporary art from across this region.

The Art Revolution That Started in a Car Park It's hard to imagine now, but there was a time when rooftop bars weren't really a thing. A time before pop-ups and contemporary outdoor sculpture parks. A time even, if you can bear to think of it, before immersive art. Way back in 2007, there was none of that – the UK was an experiential art wasteland. And then Bold Tendencies showed up, chucked a whole load of sculptures in a multi-storey Peckham car park, painted a staircase bright pink, built a cocktail bar on the roof, and changed everything. Two Decades of Transformative Art Now going into its 20th summer season, Bold Tendencies is celebrating two decades of sometimes sun-drenched, often windswept and drizzly arts programming. In that time, it has welcomed more than 3 million visitors into its concrete edifice behind Peckhamplex cinema, commissioned dozens of new artworks, hosted countless recitals and performances, built an auditorium and a concert hall, and drawn the roadmap for countless art experiences that have come in its wake. The Artistic Legacy And the art's not been too bad, either. Anthea Hamilton built a doorway to heaven through a man's splayed legs in 2010. Jess Flood-Paddock parked Del Boy's three-wheeled van on the roof in 2011. James Bridle flew a black balloon filled with wifi routers from the roof in 2014. Adam Farah-Saad installed a decorative retro water fountain in 2024. There have been piles of raw pigment, fluttering flags, wobbly walkways, heads on spikes. Almost all newly commissioned, and all free to see. Transforming the Cultural Landscape You can't overstate just how different, not only Peckham was in 2007, but the whole cultural landscape of the country. This was years before the likes of The Vinyl Factory or Frameless, and long before the Hayward and Tate were racing to the bottom to find the most TikTok-ready, Instagram-friendly exhibitions possible. The only large-scale sculptural commissions around back then were the fourth plinth and the Tate's annual Turbine Hall and Duveen projects. There wasn't really anywhere else to see new sculptural work by young artists. The Peckham Effect There also wasn't a lot going on in Peckham at the time. But what the area did have was a handful of project spaces, a single dive bar called Bar Story, seriously cheap rents and – thanks to being squeezed between Camberwell College of Arts and Goldsmiths – a lot of artists. Combined with a relative sense of isolation in the days before the London Overground, it boasted a fairly unique set of circumstances. "I found it to be a place of great possibility," says Barry. "And it still feels like that." The Visionary Behind the Movement Barry had been putting on exhibitions in a semi-derelict house on nearby Lyndhurst Way, and struck up a relationship with the people responsible for property in Southwark council. The council realised that artists could act as caretakers of empty, derelict buildings awaiting redevelopment, and Barry figured that those buildings could be used for art exhibitions. It's a model still followed today by other cultural charities, one that some consider the forward battalion in a wave of gentrification that has engulfed the city ever since. The Future of Public Art "Part of our responsibility in doing a project like this is to offer up the joy of feeling welcome to as many people as possible," says Hannah Barry, the driving force behind Bold Tendencies and owner of Peckham's longstanding Hannah Barry Gallery. "People come here for all sorts of different reasons and they may stay for a short time or stay for a long time. What matters is that they're curious enough to come." As Bold Tendencies enters its third decade, it continues to push boundaries and redefine what public art can be, proving that sometimes the most revolutionary ideas come from the most unexpected places.

The Memorial AnnouncementLiverpool have released images of a permanent memorial that is to be unveiled at Anfield in tribute to Diogo Jota and his brother, André Silva. Titled "Forever 20", the memorial features a flowing heart sculpture inspired by Jota's goal celebration. The numbers 20 and 30, Jota's and Silva's shirt numbers respectively, can also be seen from different angles.It will include the lyrics of the song Liverpool fans continue to sing in honour of Jota and is regarded as a celebration of the bond between the brothers, who died in a car accident last July.Memorial Design ElementsThe "Forever 20" memorial is designed as a flowing heart sculpture that incorporates meaningful elements from the players' careers and personal lives. The sculpture can be viewed from multiple angles, revealing the numbers 20 and 30 which represent Jota's and Silva's respective shirt numbers. This artistic choice symbolizes the eternal connection between the brothers and their enduring presence in the hearts of Liverpool supporters.Fan Tributes IntegrationLiverpool will announce when the memorial is to be officially unveiled at a later date, but it will be positioned on 97 Avenue, where thousands of tributes were left to the brothers last year. Many of those tributes, including flowers, scarves, cards and banners, will be recycled and incorporated into the stone plinth on which the memorial will sit. This integration ensures that the fans' collective grief and love for the players will be permanently honored at the stadium.Legacy and CommemorationThe memorial stands as a permanent testament to the impact Diogo Jota and André Silva had during their time with Liverpool and beyond. By incorporating fan tributes and featuring elements inspired by Jota's iconic goal celebration, the club has created a space that celebrates both the professional achievements and personal bond of the brothers. The "Forever 20" memorial will serve as a focal point for remembrance and reflection for Liverpool supporters worldwide.

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 Transformation of Naoshima Once a heavily polluted island dominated by a Mitsubishi plant, Naoshima has been reborn as Japan's 'art island' after billionaire Sōichirō Fukutake's intervention in 1989. The island now boasts 3,000 inhabitants and is home to numerous dim, concrete-walled galleries designed by architect Tadao Andō. Lee Ufan's Vision Korea-born artist Lee Ufan, respectfully referred to as 'Mr Lee,' shares his vision for his work: 'I want to take you to a place where you can feel the deep breath of the universe.' His sculpture, Porte Vers l'Infini (Gate to Infinity), on Naoshima, embodies this vision, creating a serene and contemplative atmosphere that intensifies the beauty of its surroundings. The Data Analysis Naoshima has 3,000 inhabitants. Lee Ufan is set to turn 90 next month. The artist has two museums dedicated to him, one in Naoshima and another in Arles, France. The Impact Analysis Lee Ufan's work challenges visitors to slow down and appreciate the intricate details of his art. His pieces, often made from natural materials, encourage a dialogue between the viewer and the artwork. As Lee says, 'I want viewers to perceive the things I did not paint as much as the things I did.' The Prediction As Lee Ufan prepares for his upcoming shows in Venice and New York, his legacy as a master of contemporary art continues to grow. With his emphasis on simplicity and the relatability of his work, Lee's art will undoubtedly continue to inspire and influence future generations of artists and art enthusiasts alike.

Standout Art Pieces at the 2026 Venice Biennale The 2026 Venice Biennale features several standout art pieces that are worth noting. Here are some of the most notable ones: Florentina Holzinger's Post-Apocalyptic Pavilion Florentina Holzinger's pavilion is a post-apocalyptic installation that features her suspended upside down from the clappers of a large bell. The pavilion also includes a woman riding a speedboat in circles, two others suspended at the top of a pole, and another sitting entirely submerged in a tank. The installation is transgressive and thought-provoking, and it quickly became the talk of the town. Sanya Kantarovsky's Eerie Seances Sanya Kantarovsky's paintings are like stills from very intense films. His show features book-lined rooms with incredible Murano glass chandeliers, and it culminates with an incredibly detailed sculpture of the head of a boy, also in Murano glass. The atmosphere is like a weird seance between the centuries. Gabrielle Goliath's Hypnotic Mourners Gabrielle Goliath's performance, Elegy, is a ritual of mourning for women killed in acts of sexualized or racialized violence. The performance features operatically trained female performers holding a single high note, and it is both hypnotic and moving. Carrie Schneider's Photographic Curls Carrie Schneider's photographic curls are a 1.5km-long installation that repeats over and over a still from Chris Marker's 1962 film La Jetée. The installation is thought-provoking and visually stunning. Lydia Ourahmane's Coin-Slot Art Lydia Ourahmane's sculptural show features components drawn entirely from the city of Venice. The show includes a beautiful new wooden pier, a bead curtain of Murano glass, and a contraption once used in a church to illuminate a Bellini. The installation is touching and thoughtful. Lawrence Abu Hamdan's Audio Detective Work Lawrence Abu Hamdan's installation, 450XL: the Story of a Fugitive Sound, investigates human rights abuses using sound as evidence. The installation features 15 screens resembling protest placards and is both thought-provoking and visually stunning. Zhanna Kadyrova's Origami Deer Zhanna Kadyrova's origami deer are a series of paper sculptures that are both beautiful and moving. The installation features a huge concrete deer dangling irresolutely from a crane on a flatbed truck, and it is accompanied by touching footage of the origami deer's journey.

The Lead The 2026 Venice Biennale has kicked off with 99 countries participating, including first-time participants Somalia and Qatar. The event was overshadowed by protests, including one by Pussy Riot against Russia's participation. Female Nudity Takes Center Stage Female nudity was a recurring theme at the biennale, with several artworks featuring naked women. Austria's pavilion featured naked speedboat riders, while Denmark's pavilion showcased porn stars worrying about men's sperm counts. Richard Prince's Girlfriends pictures, appropriated from old biker mags, also sparked conversation. Protests and Politics The presence of Russia at the biennale was a contentious issue, with Pussy Riot protesting outside the Russian pavilion. The group played a song called 'Disobey' and temporarily forced the pavilion to close its doors. The UK government also expressed opposition to Russia's participation. The Art of Avoiding 'Woke' Work Some countries attempted to avoid creating 'woke' art, but ended up with lackluster results. The US pavilion, featuring Alma Allen's sculptures, was criticized for being devoid of meaning or aesthetic pleasure. Maritime Themes Abound Maritime themes were a common thread throughout several pavilions, including Israel, Uzbekistan, and Canada. The Austrian pavilion featured Florentina Holzinger's SeaWorld Venice, which drew huge crowds.

The Concept of the Garden Stinging nettles, buttercups, broken crockery, fly-tipped flowers and a discarded gnome are not the usual hallmarks of an RHS Chelsea flower show garden. But this year’s On the Edge garden by Sarah Eberle – the most decorated designer at Chelsea – is designed not to look like a garden at all, rather to transport its visitors to the liminal spaces on the outskirts of towns where the countryside begins and nature is in critical need of protection. The Garden's Design and Features The garden is about the fringe lands of towns and cities – and how vulnerable they are to development. There is very much a feel of the countryside to it, but with a town edge coming in, in its plant material. Right at the front is its centrepiece: a fallen mature tree sculpted into a reclining female figure by the chainsaw carver Chris Wood, “a mixture of stone and timber carved from a sequoia that’s fallen on this piece of edgelands”. The Symbolism of the Sculpture The sculpture, which represents Mother Nature or Gaia, the Greek goddess of the Earth, is intended to evoke the peacefulness and vulnerability of green belts and other countryside that surround urban centres. Its arm touches rainwater collected in a gravel pool and its willow hair flows into a dry stone wall that winds through a landscape dotted with native trees such as hornbeam, field maple and hawthorn. The Planting Scheme The planting scheme includes lots of wildlife-friendly native plants that are typically viewed as weeds, such as buttercup, wild strawberry, purple foxglove, cow parsley and stinging nettles. “There is beauty in our ordinary, native landscapes and the plants you find there – and a weed is only a plant in the wrong place,” said Eberle. The Impact of the Garden Eberle hopes the garden will help to convey how fragile, scrappy patches of countryside on the edges of towns and cities can serve as important sanctuaries for wildlife and urban communities. “If we look after these spaces, they can be good for nature and good for people,” she said.

In a war‑torn Ukrainian city, a concrete deer shaped like folded paper has become a beacon of hope, now en route to the 2026 Venice Biennale. The piece, created by Zhanna Kadyrova, has travelled from the frontlines of Pokrovsk through Paris, Warsaw, Prague, Vienna and Brussels, gathering stories of survival and a new mythology along the way. A Concrete Deer Becomes a Symbol of Hope The sculpture was first installed in 2018 on a plinth that once held a Soviet Su‑7 bomber in Pokrovsk, Donetsk region. Intended as a simple, touchable landmark for locals, it later turned into a poignant reminder of peace when the city fell under Russian fire. From Eastern Ukraine to UNESCO: The Deer’s Epic Overland Journey In August 2024, as combat approached, curator Leonid Marushchak coordinated the risky evacuation of the deer, using angle grinders, a hammer drill and a crane to free it from its concrete base. The sculpture was then loaded onto a flat‑bed truck and began a circuitous tour of European capitals, stopping at UNESCO’s Paris headquarters before heading to Venice. Timeline and Logistics: Numbers Behind the Relocation 30 August 2024 – Deer lifted from its plinth in Pokrovsk. September 2024 – March 2025 – Transported through Warsaw, Prague, Vienna and Brussels. April 2025 – Displayed in UNESCO gardens, alongside Alexander Calder’s Spirale. May 2025 – Arrived in Venice, docked in the lagoon for the Biennale. Distance covered: roughly 2,500 km across five countries. Why the Deer Resonates: Cultural and Political Impact The deer now embodies a “new mythology” for displaced Ukrainians. Visitors—refugees, locals and tourists—touch the sculpture and make wishes, turning a public art piece into a living memorial of a city that may soon be reduced to rubble. Its presence at UNESCO underscores the intersection of cultural heritage protection and wartime loss, while the Biennale’s decision to host both Ukraine and a reinstated Russian pavilion adds a fraught political layer. What Lies Ahead: The Deer’s Role at the 2026 Venice Biennale Featured in the Ukrainian pavilion titled Security Guarantees, the deer will serve as a visual metaphor for the displacement of millions of Ukrainians. Curators hope the work will shift the conversation from a binary “anti‑Russian” narrative to a broader reflection on survival, cultural continuity, and the power of art to travel beyond borders. As the Biennale progresses, the deer’s journey may inspire similar cultural rescue projects across conflict zones.