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Breathing Earth's Ancient PastMore than 2bn years ago, during the Paleoproterozoic era, the Earth's atmosphere began to fill with free oxygen, enabling the rise of aerobic life and, ultimately, humans. This Great Oxidation Event is now being experienced firsthand by visitors to the Museum of Old and New Art (Mona) in Tasmania, where French-Swiss conceptual artist Julian Charrière has created an extraordinary installation that allows people to inhale oxygen that has been trapped in iron ore since that ancient time.When Charrière came up with the concept for what would become 'Breathe,' Mona's owner David Walsh not only approved the project but created a bespoke space for it, recognizing the unique intersection of science, art, and human experience that the installation represents.The Science Behind the Ancient OxygenThe installation is a marvel of scientific ingenuity and artistic vision. Charrière has sourced ancient iron ore from Australia's Pilbara region, which is processed daily in an on-site laboratory. The water is extracted from the ore using specialized machinery, then put through a Hofmann apparatus—a piece of scientific equipment that electrolyzes water—to liberate the trapped oxygen molecules.This pure, ancient oxygen is then released into a specially designed room where visitors can breathe it in, creating a direct connection to the beginning of life on Earth. As Charrière explains: 'I want people to get all the way back to the beginning of the earth. It's like a time machine.' The installation is designed as a solitary experience, with visitors accessing a vault-like corridor reminiscent of a mining drift, flanked by raw sandstone and lined with deep red rocks from the Pilbara.The Immense Timescale of the InstallationThe timescale involved in 'Breathe' is almost incomprehensible. The oxygen visitors inhale has been trapped in iron ore for over 2.4 billion years—since the Great Oxidation Event that transformed Earth's atmosphere and enabled the development of complex life forms. This installation literally connects each visitor to the primordial beginnings of our planet's atmosphere.As visitors walk through the tunnel, the temperature drops as they approach a high-ceilinged cylindrical room, an underground windowless tower where lighting depends on the amount of sun that can be reflected through a small opening above. Walking over tiles made of polished ancient tiger ore, they circle a floor-to-ceiling clear glass tube that houses the Hofmann apparatus. It is here, at a small opening, that visitors have their closest access to Charrière's pure, ancient oxygen.Redefining the Art-Science Experience'Breathe' represents a groundbreaking fusion of scientific methodology and artistic expression, challenging traditional boundaries between disciplines. The installation creates a profound personal experience that connects visitors not just to art, but to the very essence of life on Earth.What makes this installation particularly powerful is its claim that each visitor is the first human being to ever inhale that specific oxygen. As Charrière explains: 'You are breathing something which is so pure and has not been touched by any being before you... And the beauty of the piece is you will carry it until you die. You're going to become a small part of this installation and you become a big part of the great oxygen cycle, and you will only finally free this oxygen once... once you're going in the other world.'This installation is part of a broader trend in contemporary art that incorporates scientific processes and concepts, creating works that are both intellectually stimulating and viscerally impactful.The Future of Scientific Art Installations'Breathe' is opening alongside Charrière's major new exhibition 'Hard Core,' which showcases both the ambition and scientific curiosity of the Berlin-based artist. Individual elements of 'Hard Core' have been exhibited elsewhere in the world, including at the Venice Biennale, but the full exhibition finds its perfect home at Mona, with its exposed rock, industrial aesthetic, and fusion of science with art.As museums and galleries continue to seek innovative ways to engage audiences, installations like 'Breathe' point to a future where art and science are not just displayed together but are fundamentally intertwined in the creative process. This approach has the potential to create more immersive, educational, and thought-provoking experiences that challenge visitors to see the world—and their place in it—in new ways.Charrière's work demonstrates how art can make abstract scientific concepts tangible and personal, creating connections across vast stretches of time and space. As our understanding of the universe expands, art installations like 'Breathe' will play an increasingly important role in helping us process and relate to these profound concepts.

The British Museum delayed a talk on ancient Israel and Judah amid fears of organised disruption, sparking a debate over free expression, public funding and political pressure on cultural venues.Director Defends Postponement Amid Political PressureNicholas Cullinan, the museum’s director, issued a lengthy statement saying that “freedom of expression does not require institutions to provide a platform for disruption.” He framed the decision as a balance between visitor safety and the curator’s right to speak, not as censorship.Credible Threat Assessment and Visitor ImpactIntelligence indicated 25%–50% of ticket‑holders intended to disrupt the event.The lecture was scheduled less than 24 hours before postponement, with thousands of visitors, including school groups, expected in the building.The museum plans to reschedule and livestream the talk later this month.Implications for UK Cultural Institutions and Free SpeechThe episode has drawn criticism from Conservative leader Kemi Badenoch, shadow attorney‑general David Wolfson, and historians such as Simon Schama and Simon Sebag Montefiore. It highlights a growing dilemma for publicly funded museums: navigating protest‑related security concerns while upholding open debate.Future of Contested Programming at Public MuseumsCullinan warned that “the deeper issue extends far beyond a single lecture,” urging institutions to protect conditions for difficult conversations rather than avoid them. The museum’s experience may set a precedent for how future events—especially those touching contemporary conflicts—are managed across Britain.

The Red Carpet and the Private RoomThe Academy Museum of Motion Pictures in Los Angeles has unveiled 'Marilyn Monroe: Hollywood Icon,' a new exhibition that promises to peel back the layers of the silver screen's most enduring myth. While the entrance hall features a red carpet and a massive video screen where Monroe blows kisses, the true depth of the exhibition lies in the juxtaposition of high glamour with intimate personal effects.Pink Dress: The iconic pink dress from 'Diamonds Are a Girl's Best Friend' takes pride of place, though it has rarely been seen publicly.Madison Square Garden Outfit: An elaborately sequined outfit with a feathered tail, worn during her announcement of her new production company on an elephant.Domestic Items: Simple pyjamas from 'The Seven-Year Itch' and a pair of jeans, highlighting her role in popularizing women's denim.From Gowns to Diaries: The Shift in Curatorial FocusCurator Sophia Serrano has moved beyond the typical display of costumes to include items that offer a raw look at Monroe's internal world. The exhibition features a collection of her belongings, including a telephone, marked-up scripts, a wine glass, and an address book. However, the most compelling artifacts are the personal letters and notes.Items on display include handwritten pages of free-associative musings, such as her fears of being perceived as trying to flatter others, and a letter to director John Huston declining a role in a film about Sigmund Freud due to family disapproval. These artifacts provide a psychological profile that contrasts sharply with her public persona.Deconstructing the 'America's Sweetheart' MythThe exhibition captures the tension between Monroe's public image as 'America's sweetheart' and her private struggles with fame. A restored audio recording of her final interview, published in Life magazine the day before her death, encapsulates this duality. In it, she admits, 'I like people, but the public scares me,' revealing a profound anxiety about the loss of privacy.The Future of Celebrity MuseumsThis exhibition, alongside others in London, signals a broader trend in the entertainment industry: a move toward psychological depth in celebrity retrospectives. Future museums are likely to prioritize personal diaries, raw audio recordings, and domestic items over just costumes, offering visitors a more empathetic understanding of the human cost of stardom.

The Shift from Exit Point to DestinationFor decades, the museum gift shop was a secondary consideration—a place to buy a postcard before leaving. However, a significant strategic pivot is underway. Museums are now treating their retail spaces as primary destinations, curating lifestyle collections that rival high-street fashion stores. This shift aims to boost revenue and deepen the connection between the institution and the public, effectively turning the 'exit through the gift shop' into an 'entry point' for shopping.Curated Lifestyle MerchandisingThe core of this transformation is the move away from literal reproductions of artwork toward thematic, lifestyle products. Curators are developing collections that interpret exhibitions through fashion and homeware rather than just posters.National Portrait Gallery (NPG): For the upcoming Marilyn Monroe exhibition, the shop features cat-eye sunglasses, a signature red lipstick, and baseball caps with Monroe’s scrawl.Tate Modern: To mark Tracey Emin’s exhibition, the shop offers cat feeding bowls and cat-shaped hair clips.V&A; Dundee: For the catwalk exhibition, the merch includes bottles of hairspray and gold scissors.Design Museum: The Wes Anderson archival exhibition features Earl Grey teabags in pink patisserie boxes and 'Asteroid City' alien logo T-shirts.The Financial Power of Pop CultureThis merchandising strategy is proving to be a lucrative revenue stream. Merchandise is no longer a 'nice add-on' but a primary expectation for visitors. The V&A; reported that merchandise from its Taylor Swift exhibition generated £1.1m in just seven weeks, a record high for the institution.The product range is diverse, catering to different budgets. Items range from £3 magnets to high-end pieces like a £380 'Rave culture' vase, ensuring accessibility while offering luxury items for collectors.Cultural Capital and the 'Walking Gallery'Analysts suggest this trend is driven by the concept of 'cultural capital.' Bridget Dalton describes this as a 'triple whammy' where consumers buy products that represent their interests and support a national institution. It allows individuals to express their intellectualism and cultural engagement through fashion.This approach resonates strongly with Gen Z, who document their museum visits and purchases on TikTok as 'museum hauls.' For this demographic, seeing these products on social media often drives ticket sales, creating a feedback loop between social media trends and physical attendance.The Future of Institutional RetailAs museums continue to blur the lines between cultural institutions and retailers, we can expect to see more collaborations with independent makers and up-and-coming designers. The goal is to create a 'grown-up' form of fandom where visitors can wear their interests, effectively becoming a 'walking gallery' that demonstrates their knowledge and cultural engagement.

The Escalating Cost of Russia's War in UkraineEvidence of Russia's poor performance in its war in Ukraine, both militarily and economically, has been mounting over the past week. The US Defence Intelligence Agency (DIA) has confirmed earlier assessments that Russia has lost territory it previously occupied in Ukraine, while Ukraine has managed to reclaim approximately 400 square kilometers in and around Dnipropetrovsk – more territory than at any time since late 2022.Russia's Military Setbacks and Economic StrainRussia has still made a net territorial gain in 2026, but its advance is slowing down dramatically. According to the Institute for the Study of War (ISW), a Washington-based think tank, Russia advanced by a net 104 sq km between January 1 and May 26, 2026, compared to its seizure of 1,619 sq km during the same period last year.Ukrainian President Volodymyr Zelenskyy reported that Russian casualties had increased to 145,000 this year, of which 86,000 were killed and 59,000 troops seriously wounded. Ukraine's Defence Minister, Mykhailo Fedorov, highlighted that this meant 179 Russian losses per square kilometre of advance, compared to 67 last year – a rate higher than what Russia is currently able to replace through recruitment.Russia's war is also becoming increasingly difficult to finance. Having exceeded its entire 2026 budget deficit allowance by April, and depleted its foreign exchange reserves, Russia has been drawing down gold reserves at an unprecedented pace. According to its Central Bank, Russia has sold 27.9 tonnes of its gold reserves this year, worth more than $4bn, leaving reserves at their lowest since the beginning of the full-scale invasion in February 2022.Shifting Battlefield Dynamics and StrategiesThe DIA attributed Ukraine's territorial gains to Russia losing access to Starlink satellite services used for targeting and counter-battery fire. Ukraine attributes its success to its strategy of interdicting Russian logistics through mid-range drone and artillery strikes, which Fedorov described as a programme called "Logistical Lockdown" designed "to scale up middle-strike and systematically destroy Russian capabilities at the operational depth."This Ukrainian tactic has prevented reinforcements of men and equipment from reaching the frontlines, diminishing Russia's superiority in depth of resources and mass. The effectiveness of this strategy was demonstrated when Kherson occupation governor Vladimir Saldo restricted movement along the M-14 highway connecting Mariupol, Berdyansk and Melitopol, due to the number of vehicles being struck there.On the defensive front, Ukraine received a significant boost when Sweden announced it would donate 16 Gripen warplanes to Ukraine, which would also purchase an additional 20 through the EU's Ukraine Support Loan in a deal worth $2.9bn. Zelenskyy noted that "Gripen fighters with appropriate weapons, in particular Meteor missiles, which destroy targets at a distance of more than 200 kilometres, will help us push back Russian aircraft" against the approximately 3,000 Russian glide bombs dropped weekly.Simultaneously, Ukraine continued its long-range strikes on the Russian oil economy, which funds the war. On May 23-24, Ukraine struck oil depots and terminals at Novorossiysk and Tamanneftegaz on the Black Sea, as well as military and industrial sites including the Metafrax Chemicals plant in Perm and the Taganrog Airbase in Rostov.Russia's Response and Escalation TacticsIn response to Ukrainian advances, Russia pursued its own aerial tactic of striking Kyiv through massive combined attacks of drones and missiles. On May 24, Russia launched 600 long-range drones and 90 missiles against Kyiv and surrounding areas, including 36 ballistic missiles. Ukraine managed to shoot down 91 percent of the drones and 81 percent of the cruise missiles, though those that hit damaged government buildings, museums, and a market, injuring at least 87 people and killing two.Russia framed these attacks as retaliation for what it described as a terror attack on a college in occupied Luhansk, which it claimed killed six students and injured 39. Ukraine's General Staff countered that it was a strike on a centre for Advanced Unmanned Technologies run by Rubikon, Russia's unmanned systems force.Russian Foreign Minister Sergei Lavrov informed his US counterpart, Marco Rubio, that Russia would begin striking "military sites" in Kyiv in retaliation, warning foreign citizens, including diplomats, to leave. Moscow specifically mentioned using its newest Oreshnik intermediate range missile in the attacks, which it has also forward-positioned in Belarus.Future Outlook of the ConflictThe current trajectory suggests that Ukraine's strategy of targeted strikes on Russian logistics and supply lines, combined with enhanced air defense capabilities from international partners, will continue to challenge Russia's military advances. However, Russia's demonstrated willingness to escalate attacks on urban centers and its deployment of advanced weaponry indicate that the conflict may enter a more intense phase.As Russia depletes its financial resources and struggles to replace casualties, its ability to sustain current operations may diminish. Conversely, Ukraine's increasing success in securing international military support and refining its asymmetric tactics could shift the balance further in its favor, though the long-term outcome remains uncertain as both sides adapt their strategies.

The Urban Pompeii of Los AngelesThe La Brea Tar Pits and Museum, a cornerstone of Los Angeles' cultural landscape, is preparing to close its doors in July 2026 for a comprehensive overhaul. This $240 million renovation aims to reimagine the visitor experience while preserving the site's status as the world's only urban, active ice age excavation site.A $240M Transformation of the Ice AgeThe project, led by the Natural History Museums of Los Angeles County and designed by the New York firm Weiss/Manfredi, will transform the interior exhibition spaces and the surrounding 13-acre park. New walkways and bridges are planned to create a dynamic environment, though the existing structure will remain largely intact.Project Timeline: Closing in July 2026, reopening in 2028.Design Firm: Weiss/Manfredi (known for Brooklyn Botanic Garden and Olympic Sculpture Park).Scope: Interior updates, landscape features, and new bridges.Preserving the Past: The Value of the CollectionThe site holds over 2 million fossils, including mastodons and saber-toothed cats. The preservation quality is exceptional, retaining collagen for accurate carbon dating, which provides invaluable data on the past ecosystem. The site is often described as "Pompeii, but in the middle of a massive city."Bridging the Gap Between Science and SocietyEmily Lindsey, the museum's associate curator, emphasizes the site's critical role in scientific literacy. It offers a unique opportunity to showcase the scientific process publicly, countering current mistrust of science by making it accessible and understandable to the public.The Future of Urban PaleontologyThe reopening in 2028 is expected to set a new standard for urban natural history museums, potentially increasing attendance and serving as a model for integrating scientific research directly into public spaces.

The Birth of NegroMuro Rio de Janeiro, once home to the world's largest port of arrival for enslaved Africans, has a majority Afro-descendant population. Despite this, the city's public monuments largely overlook its Black heritage. Only about 10% of the 360 statues and busts across Rio commemorate Black people, with just 29 men and three women represented. The Mural Project's Impact This striking lack of representation drove two Black men, Fernando Cazé and Pedro Rajão, to create the NegroMuro project in 2018. The project now comprises 80 murals spread across the city, portraying about 120 people, 60% of them men. The duo aims to address the disparity by including more women in future murals. A Cartography of Black Memory “We're creating a cartography of Black memory,” says Pedro Rajão, a researcher and producer who created the project alongside visual artist Fernando Sawaya. The murals, on walls of schools, museums, train stations, and private homes, feature brightly coloured, bold-lined paintings of people born in Rio or with a strong connection to the city. Honouring Black Figures The murals depict notable figures such as Brazilian singer-songwriter and composer Luiz Melodia, writer Machado de Assis, and Black feminist activist Lélia Gonzalez. By honouring these individuals, the project seeks to celebrate Black cultural heritage and provide a more inclusive representation of Rio's history.

Executive Snapshot: Friedlander’s Playful Lens on Display The Guardian’s picture‑rich feature walks readers through the newest showcase of Lee Friedlander, emphasizing his knack for turning everyday moments into witty visual jokes. The essay serves as both a tribute and a primer for anyone curious about his enduring influence. Inside the Exhibition: Curating Friedlander’s Signature Humor The gallery arranges Friedlander’s black‑and‑white prints alongside candid snapshots, each framed to reveal the photographer’s love of visual puns, layered compositions, and urban detours. Highlights include: Street scenes where shadows become characters. Self‑portraits that blur the line between observer and observed. Series of storefront windows that turn commercial signage into visual riddles. Numbers on the Wall: Attendance and Market Signals The article does not disclose specific visitor counts or sales figures for the show. However, past Friedlander retrospectives have typically drawn tens of thousands of visitors and sparked renewed interest in his limited‑edition prints. Why It Matters: Shaping Contemporary Photographic Discourse Friedlander’s blend of humor and meticulous composition continues to inspire a new generation of photographers who seek to embed narrative depth in everyday scenes. The exhibition reinforces his role as a bridge between classic documentary traditions and modern visual storytelling, reaffirming the market’s appetite for work that balances aesthetic rigor with accessible wit. Looking Ahead: The Future of Friedlander’s Legacy As museums and galleries worldwide revisit Friedlander’s oeuvre, his influence is likely to expand into digital platforms, where his compositional tricks can be re‑imagined through interactive media. Collectors and institutions are expected to pursue further collaborations, ensuring that his “gift that keeps on giving” endures for decades to come.

The Story Museum: A Family-Friendly Gem in Oxford Play cafes are not for everyone, but that doesn’t mean you can’t have a fun and engaging experience with your toddler in a museum. The Story Museum in Oxford is a great example of a family-oriented museum that sparks curiosity in arts and culture. Exploring the Galleries The museum offers a variety of interactive exhibits, including the Small Worlds gallery for under-fives, inspired by picture books and nursery rhymes. The Story Portal, where children receive a special passport, leads to the Whispering Wood, an indoor forest filled with fables and fairytales from around the world. A Dragon-Themed Temporary Exhibition During the visit, a temporary exhibition space was filled with all things dragon, co-curated with How to Train Your Dragon author Cressida Cowell. Children could dress up as a dragon, create their own origami dragon claw, and discover what a dragon’s den might smell like. The Enchanted Library The Enchanted Library takes visitors through the history of children’s literature in an engaging way. Visitors can play digital Pooh sticks in the Hundred Acre Wood and explore a wardrobe into the frosty forest of Narnia. A Hands-On Approach The museum’s approach is hands-on and interactive, encouraging children to touch, explore, and learn. As Lucy Webber, the museum’s head of learning, says, “We’re very much the opposite of a don’t-touch environment. So, do talk, do touch, see what happens.” More Story-Focused Museums to Explore Seven Stories, Newcastle Discover, London The Storybarn at The Reader, Liverpool