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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.

Atletico Madrid announced that Johnny Cardoso will have surgery on his right ankle after sustaining a severe sprain in training, ending his chances of joining the United States squad for the 2026 World Cup.Cardoso’s Surgery Seals His World Cup AbsenceThe La Liga club confirmed the procedure on Monday, noting the injury occurred during a training session last Thursday. The 24‑year‑old midfielder has already missed significant time this season, including only 45 minutes of action in a friendly against Belgium during the March international window.Numbers Highlight Cardoso’s Limited PlaytimeAge: 24Season appearances: limited by recurring injuriesInternational minutes this year: 45 (vs. Belgium)USMNT Faces Injury Crisis Ahead of 2026 World CupCoach Mauricio Pochettino must finalize a 26‑man roster while dealing with multiple absences. Captain Christian Pulisic missed recent AC Milan matches due to a muscular issue, and wingers Tim Weah (Olympique de Marseille) and midfielder Tanner Tessmann (Olympique Lyonnais) are also sidelined.The United States, co‑hosting the tournament with Mexico and Canada, will play warm‑up matches against Senegal (May 31) and Germany (June 6) before opening Group D against Paraguay on June 12.Potential Squad Adjustments and Tournament OutlookWith Cardoso unavailable, Pochettino may look to younger midfield options or reshuffle the existing roster. The injury wave could force the USMNT to rely more heavily on depth players, influencing tactical choices for both the warm‑up games and the World Cup campaign.

The Artist's Monument to Forgotten WorkersAn air of civilisational wipeout hangs over the Gehrenseestrasse complex, an abandoned housing estate on the north-eastern outskirts of Berlin, where the city still looks shabby without the chic. The insides of the nine prefabricated blocks have long been gutted; six floors of empty window frames stare hollow-eyed over multi-lane carriageways. In the courtyard, paintballers have left behind wooden barricades from when they played at World War III.Yet in one of the second-floor rooms of Berlin's largest ruin, artist Sung Tieu is waltzing across the concrete floor and reliving scenes from her childhood. "Here was the single bed I shared with my mother for three years," she says, pointing into a corner of the small room. "Two metres by 90cm, can you believe it?" There in the corridor is where her neighbours used to make bánh bao dumplings on camping stoves, for lack of private kitchens. "I still remember the smell." Here was the door through which she used to entertain her best friend when his mother locked him in during working hours. "We played cards through the gaps," she recalls with glee.But she also still remembers where neo-Nazis tried to throw molotov cocktails into the building: "They eventually set up a net because the windows kept on getting smashed".The Mosaic Recreation of a Lost CommunityThese days, few people have heard of the Gehrenseestrasse complex, whose last tenants left in 2002. But if Tieu had her say, it would be as essential a stop on the tourist trail as the Brandenburg Gate, the Reichstag or Checkpoint Charlie. There is, in her view, no place that better tells the story of the Vertragsarbeiter generation – the oft-forgotten workers who were hired on fixed-term contracts from socialist "brother states" in Vietnam, Mozambique, Angola or Cuba to boost the East German economy. "To me, this place is a monument," says Tieu.By the end of this summer, many more people in Germany – and art enthusiasts around the globe – will know about her childhood home. For this year's Venice Biennale, Tieu has clad the German pavilion with a like-for-like replica of the complex's facade, recreating the grey concrete and smudges of graffiti with three million mosaic stones made in Ravenna. She conceived the pavilion in tandem with the artist Henrike Naumann, who died in February from cancer aged only 41.Bureaucracy as Artistic MediumThe woman I meet at a Vietnamese restaurant in Berlin's Lichtenberg district is the antithesis of that exoticised cliche: modest, dressed all in black, analytical in her answers to my questions. She talks me dispassionately through the more experimental food options on the menu, but comes alive when explaining bilateral treaties and labour regulation."I really try to avoid the pure post-migrant diaspora narratives. By focusing on individual experience you can lose sight of the bigger picture. Contracts, state treaties, floorplans – that's what I am interested in. There has to be a certain formal toughness."Looking through her catalogue raisonné you are reminded of Marcel Duchamp. You see an artist dedicating her career to seeking ever more minimalist ways to express the same idea, from Cubist painting to readymade to annotations of chess moves. And in Tieu's case, that big idea is bureaucracy. In 2015, she reprogrammed the scrolling LED displays at a shop inside the Dong Xuan Centre, Berlin's largest Asian market, to display the texts of immigration treaties. For a group show at Berlin's Haus der Kulturen der Welt in 2024, she transcribed by hand documents from the national archives on the East German porcelain industry, authenticating them with her own ornamental stamp. Her website, fittingly, is just a long index of file names and a deadpan biography section: "Sung Tieu is an artist."Childhood Trauma and Artistic Vision"I think it's also a childhood trauma," she says when I ask her where her interest in bureaucracy comes from. "I've had to fill out forms for my mother since I was five, since she didn't speak any German. And by the time I was seven my German was better than hers. Bureaucracy was part of my childhood – I studied politics and administration because I wanted to understand it."Born in 1987 in Hai Duong, northern Vietnam, Tieu moved with her mother to what was by then the formerly socialist East German regions in 1992. They were joining up with her father, who had moved to the GDR five years earlier via a bilateral agreement for factory workers from the socialist republic.Initially announced in the romantic spirit of ideological solidarity, the treaty between the two states soon became a more hard-nosed deal, addressing ongoing labour shortages in East Germany while helping to rebuild a war-ravaged Vietnam, which took a...The Legacy of Forgotten WorkersTechnically there was no racism in the GDR, because it wasn't documented. But of course it always existed. This is the uncomfortable truth that Tieu's installation confronts – the erasure of immigrant experiences in official narratives, even as these workers were essential to East Germany's economy.Through her art, Tieu transforms personal memory into collective history, giving voice to the thousands of contract workers who built East Germany but were never fully acknowledged as part of its society. The Venice Biennale installation, with its meticulous recreation of a housing complex that many would prefer to forget, serves as both memorial and critique – a reminder that the stories of immigrants are integral to understanding modern Germany.The Future of Migration Narratives in ArtAs Europe continues to grapple with questions of migration and identity, artists like Sung Tieu are pioneering new forms of expression that move beyond personal stories to examine the structures and systems that shape immigrant experiences. By focusing on bureaucracy, architecture, and official documents, Tieu creates art that is both deeply personal and universally relevant.The Venice Biennale platform ensures that these often-overlooked histories reach a global audience, challenging visitors to reconsider their understanding of migration, labor, and belonging. As Tieu continues her exploration of these themes, we can expect more installations that transform bureaucratic systems into powerful artistic statements, creating spaces where the voices of the marginalized can be heard and remembered.

Executive Summary Five former senior figures at the collapsed construction giant Carillion have been banned by the UK’s Financial Reporting Council (FRC), ending their accounting careers after the regulator deemed their conduct “reckless”. The sanctions include bans ranging from two to fifteen years and combined financial penalties exceeding £300,000. FRC Imposes Bans on Five Former Carillion Executives The FRC announced on Tuesday that former finance director Richard Adam (69) will be excluded from the Institute of Chartered Accountants in England and Wales for 15 years. His successor, Zafar Khan (58), received a 10‑year ban. Three unnamed senior accountants were also barred for periods of two to eight years. Financial Sanctions Totalling Over £300,000 Richard Adam: £222,019 sanction (reduced from £550,000) Zafar Khan: £60,228 sanction (reduced from £225,000) Unnamed accountant 1: £45,000 sanction, 8‑year ban Unnamed accountant 2: £26,000 sanction, 5‑year ban Unnamed accountant 3: £26,000 sanction, 2‑year ban Both Adam and Khan had previously been fined by the FCA – £232,830 and £138,960 respectively – for misleading investors. Implications for UK Corporate Governance and the Construction Sector The bans underscore the regulator’s willingness to impose severe penalties on senior finance officers who fail to uphold integrity, especially in large, listed companies. Carillion’s collapse in January 2018 left £7 billion of debt, 3,000 job losses and delayed major public‑sector projects, highlighting systemic weaknesses in financial oversight. 2017 profit warnings and massive provisions (£845 m, £200 m) signalled deepening trouble. January 2018 compulsory liquidation triggered a cascade of project delays and cost overruns. Future Regulatory Scrutiny Likely to Intensify Analysts expect the FRC and other watchdogs to increase examinations of accounting practices in the construction and infrastructure sectors. Companies may face tighter reporting requirements, and senior finance professionals could encounter more rigorous personal accountability standards.

Revival of No Mow May on Liverpool’s Road VergesThe Guardian’s latest Country Diary notes that Liverpool City Council reinstated its No Mow May policy after a disruptive mowing incident in 2025. By delaying routine mowing until June, the city gave wildflowers a chance to germinate and attract pollinators.Reduced Mowing Regime Sparks a Burst of Meadow SpeciesField observations in early May revealed a vivid tapestry of flora along the city’s verges. Notable species included:Dandelions blooming at the verge edgesCommon ragwort, white clover, shepherd’s purseCommon chickweed, spear thistle, yarrow, bird’s‑foot trefoilTwo isolated plants of cuckoo flowerIn addition, a flock of 18 starlings was seen foraging, indicating a rapid rise in insect prey.Species Count Highlights a 21‑Species BloomAccording to the diary entry, a total of 21 distinct plant species were recorded on the surveyed verges—a marked improvement over the previous year’s near‑monoculture of grass. This quantitative jump underscores the direct ecological payoff of delayed mowing.Implications for Urban Biodiversity and Pollinator SupportThe surge in flowering plants provides critical nectar and pollen resources for a range of pollinators, including the cinnabar moth caterpillars that feed on ragwort. With 97% of flower‑rich meadows lost since the 1930s and 41% of insect species facing extinction, such micro‑habitats become essential stepping stones for urban wildlife.Moreover, the visible success may encourage other UK councils to adopt similar verge‑management strategies, reinforcing Plantlife’s broader mission to halt biodiversity decline.Looking Ahead: From No Mow May to “Let it Bloom” JuneThe author plans to monitor ragwort for further caterpillar activity and hopes the mowing crew will transition seamlessly into Plantlife’s Let it Bloom June phase, extending the flowering window. Continued community engagement and transparent council communication will be key to sustaining these gains.

Day 74 of the Iran‑U.S. war saw Tehran’s parliamentary speaker, Mohammad Bagher Ghalibaf, declare that Iranian forces stand ready to respond to any attack, while President Donald Trump labelled Iran’s latest diplomatic reply “stupid” and warned the fragile cease‑fire is on “massive life support”. The exchange has deepened uncertainty over a diplomatic breakthrough and raised the spectre of broader regional disruption. Escalating Rhetoric Marks Day 74 of the Iran‑US Standoff Trump rejected Iran’s response to his peace proposal, calling it “stupid” and “garbage”. Ghalibaf warned the United States would be “surprised” by Iran’s retaliation if attacked. Analyst Dania Thafer warned of a “high likelihood of escalation” as both sides appear to be speaking past each other. Sanctions, Seizures and Diplomatic Moves: The Numbers Behind the Tension The United States sanctioned 12 people and entities over Iranian oil sales to China. The United Kingdom announced parallel sanctions targeting similar actors. Iranian authorities seized six properties linked to ex‑football captain Ali Karimi, now living in exile. A defence ministers’ meeting hosted by the UK and France will bring together representatives from 40 countries to discuss security of the Strait of Hormuz. Regional Ripple Effects: Energy Flows, Trade Routes and Civilian Costs Disruptions in the Strait of Hormuz threaten global oil shipments, already inflating diesel and transport costs in the United States. Rising fuel prices are pushing up supermarket and transport expenses across the U.S., according to Al Jazeera’s Mike Hanna. Heavy U.S. military activity at Israel’s Ben Gurion airport is crowding civilian flights, raising ticket prices ahead of the summer travel season. Lebanese residents displaced by Israeli strikes face repeated evacuations and interruptions to children’s education. What Comes Next? Scenarios for the Next Weeks of the Conflict Diplomatic push: Trump’s upcoming trip to China could open a back‑channel for de‑escalation, but success hinges on reconciling core demands over Iran’s nuclear programme. Escalation risk: If either side escalates military pressure in the Hormuz corridor, shipping costs could spike further, deepening the global energy crisis. Sanctions spiral: Additional U.S. and UK sanctions may tighten Iran’s financial lifelines, prompting Tehran to adopt asymmetric retaliation tactics.

The Controversy Surrounding Israel's Participation The Eurovision Song Contest, an annual international music pageant, is set to begin this week in Vienna, Austria. However, the event is facing boycotts from several countries, including Ireland, the Netherlands, Slovenia, Spain, and Iceland, due to Israel's participation. The boycotts are in response to Israel's actions in Gaza, which have resulted in the deaths of at least 72,740 people. The Background of Eurovision The Eurovision Song Contest, which began in 1956, is an annual event organized by the European Broadcasting Union (EBU). The contest is open to countries with broadcast operations located in Europe, and Israel has been participating since 1973. Despite its name, the contest is not restricted to European nations, and countries like Australia have been invited to participate in the past. The Boycott and Its Reasons The boycotting countries have cited Israel's actions in Gaza as the main reason for their decision. They argue that Israel's participation in the contest is hypocritical, given that Russia was banned from participating due to its war in Ukraine. Over 1,000 musicians and cultural workers have also signed an open letter calling for a boycott of the contest. The Impact of the Boycott The boycott has sparked a heated debate about the role of politics in the Eurovision Song Contest. While some argue that the contest should remain a neutral event, others believe that it is impossible to separate politics from the event, given the current global context. The Future of Eurovision As the Eurovision Song Contest begins, it remains to be seen how the boycott will affect the event. The EBU has stated that it is committed to maintaining the neutrality and integrity of the contest, but it is clear that the controversy surrounding Israel's participation will continue to be a topic of debate.

The Shadow Over the CelebrationVienna was meant to host a triumphant celebration for Eurovision's 70th anniversary, but the event is instead overshadowed by political controversy as five major European countries boycott the contest over Israel's inclusion. This unprecedented situation threatens the future of a competition that has prided itself on transcending politics through music.The Unprecedented BoycottDue to boycotts over Israel's participation, Eurovision 2026 will proceed without Spain and the Netherlands—traditionally the contest's fifth and sixth largest financial contributors—Ireland, the joint record-holder for most winning entries, Slovenia, and Iceland. This marks the first time in the contest's seven-decade history that such a significant number of major participants have withdrawn.The boycott stems from a decision by the European Broadcasting Union (EBU) to allow Israel to compete without first giving member broadcasters a vote on its inclusion, a process that was followed for Russia's exclusion after its invasion of Ukraine in 2022. Critics accuse the EBU of double standards.Financial and Viewership FalloutThe boycott carries significant financial implications for a contest already facing challenges from cuts to public broadcasters across Europe. Irving Wolther, a cultural historian and long-time Eurovision observer, noted: "In the long term, financing Eurovision is going to become harder and harder as publicly funded broadcasting is coming under attack everywhere across Europe. In that context, the political rows don't help, of course."The 2025 grand final in Basel attracted a record 166 million viewers globally, but this year's contest faces media blackouts in several boycotting nations. The finale won't be broadcast in Ireland, Slovenia, and Spain, where nearly 5.9 million viewers tuned in last year. Instead, these countries are offering alternative programming, including Spain's musical special and Ireland's broadcast of the animated film "Mummies."Fan Divisions and Cultural ImpactThe political controversy has fractured Eurovision's fan community. The fan-site Eurovision Hub announced it would not cover the event, stating "we no longer feel aligned with the contest in its current state." Historian Paul Jordan observed that friendships forged through Eurovision have been driven apart by the political divide, noting that "Eurovision is meant to be joyous. But this year it feels a little bit sad."The tension extends beyond virtual spaces, with Vienna set to host both support and protest rallies regarding Israel's participation. Approximately 3,000 protesters are expected for a rally at Resselpark on Friday to mark Palestinian Nakba Day.Future of Eurovision at a CrossroadsDespite the controversy, the EBU is pursuing expansion, announcing plans for an inaugural Eurovision Asia contest in Bangkok, Thailand, scheduled for November 14. This strategic move suggests the organization is seeking new markets amid challenges in Europe.Eurovision's director, Martin Green, has promised a spectacular show in Vienna that will celebrate the contest's "unique ability to bring people together across borders and generations." However, the 70th anniversary celebration may instead mark a turning point for the competition, forcing it to confront questions about its political neutrality and financial sustainability in an increasingly divided Europe.

Fans who purchased the premium “hand‑signed” edition of Liza Minnelli’s memoir Kids, Wait Till You Hear This! are demanding refunds after discovering the signatures appear to be machine‑generated, raising doubts about the authenticity of celebrity‑signed collectibles. Fans Accuse Liza Minnelli Memoir of Autopen Signatures Copies marketed worldwide as “hand‑signed collectibles” were sold for up to $250 (£185). Buyers like Gareth Brown noted the uniformity of the signatures and, after comparing photographs, concluded the marks were unnaturally identical. Justin Steffman, CEO of authentication service AutographCOA, confirmed that the examined examples show no evidence of a human hand. Signature questioned by fans using tracing‑paper overlays. Publisher Grand Central Publishing and UK partner Hodder declined comment. Previous celebrity autopen scandals include Bob Dylan ($599 copies) and Sinéad O’Connor (stamp‑signed memoir). Financial Stakes: Autograph Market Valued Over $25 bn The global autograph market is estimated at more than $25 bn, driven by collectors willing to pay premiums for perceived rarity. The Liza Minnelli case involves premium editions priced at $250, illustrating the high‑margin nature of signed memorabilia. Premium edition price: $250 / £185. Typical collector‑grade signed books can command several hundred dollars. Recent scandals have eroded confidence, potentially affecting future sales volumes. Implications for Publishing and Collectibles Industry Publishers face reputational risk when authenticity claims are disputed. The lack of response from Grand Central Publishing and Hodder may prompt tighter verification protocols and clearer disclosure of signing methods. Potential legal exposure for false advertising. Increased demand for third‑party authentication services. Shift toward digital certificates of authenticity as a safeguard. Future of Signed Merchandise and Consumer Trust Analysts predict that collectors will become more skeptical, demanding transparent provenance for signed items. Publishers may adopt blockchain‑based tracking or partner with reputable authentication firms to restore confidence. Short‑term: Refund requests and possible class‑action suits. Mid‑term: Adoption of verifiable digital signatures. Long‑term: A more regulated market with higher consumer trust.