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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 Performance Vespers, a semi-staged concert, was set in Vivaldi's Venice, within the broader and more ancient cultures of the Mediterranean. The audience was seated on either side of a raised platform, with string players from Figure, led by Frederick Waxman, at one end, and countertenor Iestyn Davies, a troubled figure staring at a laptop and lit by a single candle, at the other. The Music The performance featured Vivaldi's Nisi Dominus, a vibrant, multimovement setting of Psalm 127 for alto, strings, and chamber organ. Davies's richly cushioned voice brought lyrical warmth and fluid phrasing to this elaborate music, even as his anxious character sought deeper meaning in his mundane life. A Clash of Cultures At the heart of Sam Rayner's resourceful staging was an arresting clash of cultures. Approaching the platform, Isadora Pulman regaled the world-weary Davies with Morenica, a traditional Sephardic song about a woman who playfully rejects the calls of passing sailors as she waits for the son of a king. Accompanied by Balkan flute and Middle Eastern zither, and with the light glinting off her bejewelled ears and throat, Pulman's smoky vocals seemed to suggest that those in search of a more purposeful future could do worse than embrace the example of a less inhibited past. The Impact The performance was a haunting sound, open throated and ornate, its vinegary harmonies peppered with ululating decorations. The Idrîsî Ensemble, a choral collective specialising in the performance of Old Roman chant, brought a unique and captivating sound to the performance.

The LeadThe week's art scene is abuzz with exciting exhibitions and showcases. From British landscapes to gothic paintings, there's something for every art enthusiast. Exhibition HighlightsBritish Landscapes: A Sense of Place at Pallant House Gallery, Chichester, explores the romance and mystery of Britain's green and pleasant land through works by artists from Gainsborough to Hepworth. Lisa Ivory: Creepy gothic paintings at Gramercy Park Studios, London, featuring skeletons and nudes in shadowy landscapes. Jack White: An exhibition at Newport Street Gallery, London, showcasing his artistic skills. Delaine Le Bas: Mystical new artworks at Maureen Paley Gallery, London, including pieces made in glass at Venice's Murano workshops. Wendy McMurdo: A 30-year survey of her work at Portrait, Edinburgh, exploring the border between reality and digital fantasy. The Featured ArtistSteven Shearer's work, including Tokerman, is highlighted, with the artist discussing how his paintings conjure art history through adolescent ennui and coming-of-age alienation. Masterpiece of the WeekPortrait of a Poet by Palma Vecchio, circa 1516, is showcased at the National Gallery, London, featuring a poet with a laurel tree growing out of his head, symbolizing poetic associations in Renaissance Italy.

The Churchill Exhibition: War Leader's Artistic EscapeBritain's eloquent war leader kept himself sane by puffing on cigars, swilling brandy – and painting the world around him. The Wallace Collection in London is hosting "Winston Churchill: The Painter" from 23 May to 29 November, offering a rare glimpse into the artistic side of the historical figure.New Voices in Contemporary ArtThe London art scene is buzzing with new exhibitions featuring contemporary artists:Kira Freije presents hollow metal people at Modern Art Oxford, showing shadows of Berlin Dada in her work. The exhibition runs from 23 May to 16 August.Miriam Elia, known for her witty take on Ladybird books, turns her eye towards Moses in this exhibition for Jewish Cultural Month at JW3, until 30 June.Liam Young offers futuristic but lo-fi worlds you can walk through at the Barbican, until 6 September, with installations finding hope for our planet.Zsuzsi Ujj presents her first UK solo show at Arcadia Missa, from 22 May until 18 July, establishing her presence from Hungary's dissident art and underground music scenes.Remembering Valie ExportThe art world mourns the passing of Austrian feminist artist and film-maker Valie Export, who died this week. Her 1968 performance piece "Tapp und Tastkinema" (Tap and Touch Cinema) is highlighted as typically provocative but playful, giving people the opportunity to interact with and appraise a real female body: her own. Export's fearless approach to challenging beauty standards continues to influence contemporary artists.Notable Art News and DevelopmentsThe week brought several significant stories from the art world:Taiba Akhuetie makes wild creations out of hair – Rihanna and Cate Blanchett are fansWhistler should have used better paint to capture his motherNina Simone's chewing gum is going on show in a new exhibition celebrating the superfanChristo made the invisible visibleGrayson Perry's life story is to be made into a musicalFlorentina Holzinger rocked this year's Venice Biennale with naked jetskiers, human bells and urine diversGen Z can't get enough of the king of colour, Mark RothkoSanya Kantarovsky's paintings of Christian iconography and children will haunt youMasterpiece of the Week: The Judgement of ParisJoachim Wtewael's "The Judgement of Paris" (1615) stands as this week's masterpiece. The painting depicts the moment when Trojan prince Paris foolishly rates the beauty of Minerva, Venus, and Juno, giving the prize to Venus in return for her helping him seduce Helen. This decision sparked the Trojan War, with the Greeks supported by the furious Juno. Wtewael's mannerist style, with its bony, angular forms and deliberate distortions, creates an overabundance that presages doom, reflecting the war-torn Europe of the 1600s. The painting is on display at the National Gallery in London.

The LeadWhen producers of the revived Baywatch series hit unexpected permitting roadblocks on Venice Beach, the incident quickly morphed into a political flashpoint, with opponents of Mayor Karen Bass branding Los Angeles “not film friendly” and using the controversy to sharpen their mayoral campaigns. The Baywatch Production Standoff on Venice BeachAfter receiving a $21 million state tax credit, the Baywatch team arrived in February to film on Venice Beach. Within four days, the County Beaches and Harbors Department barred the use of camera drones, night shooting, and even limited the sand area and parking options, forcing production to halt. Tax credit: $21 million Restrictions: no drones, no night shoots, limited sand and parking Production downtime: four days before a full stop Financial Stakes and Shooting‑Day MetricsThe Baywatch dispute arrived at a moment when the city was trying to reverse a long‑term decline in film activity. Industry loss: nearly 50 % drop in shooting days since 2018 (cited by challenger Nithya Raman) Recent rebound: 10.7 % increase in total productions Q4 2025 → Q1 2026 Feature‑film surge: 45 % rise in shooting days over the same period Political Fallout in the 2026 Los Angeles Mayoral RaceOpponents seized the Baywatch saga to question Bass’s leadership. Right‑wing challenger Spencer Pratt called the incident “political fecklessness,” while left‑leaning councilmember Nithya Raman highlighted the broader decline in shooting days. Bass responded by coordinating with the state coastal commission, FilmLA, and city council to clear the bureaucratic hurdles. What the Next Months Hold for LA’s Film PolicyMayor Bass announced a series of reforms: streamlined permitting across agencies, accelerated sound‑stage certification, waived fees for “microshoots,” and a six‑month pilot by FilmLA to cover permits for low‑impact productions. If these measures sustain the recent 10.7 % production uptick, they could become a cornerstone of Bass’s re‑election narrative, while challengers will likely continue to press for faster, more transparent reforms.

The Forbidden Love Story of 'Falling'9pm, Channel 4"May I see your cabbages?" Catholic priest David (Paapa Essiedu) asks devoted nun Anna (Keeley Hawes). "Only if you get me really drunk," she chuckles. And with that, a forbidden love story starts to unfold. This is Jack Thorne's new slow-burn drama about the relationship between two people committed to the church and their communities. In the opening episode, when Anna admits her "immortal thoughts of lust" to David, she doesn't get the response she expected – but it will force her to reconsider her whole life. Does she really want to start again outside the convent? And are her feelings for Hot Priest 2.0 definitely one-sided? Jason Watkins and Niamh Cusack also star.Murder Mystery at the Grand Canal9pm, ITV1In 2015, two friends living on a houseboat in London's Little Venice heard a thud. Then they saw a suitcase in the water that contained a body. Police launched a murder investigation, which is replayed here – with the insight of forensic pathologist Dr Richard Shepherd and detectives who worked on the case – and led to the identification of Marta Ligman. But who was the perpetrator?Interior Design Masters in Leeds8pm, BBC OneLeeds's financial district may not scream creative freedom – but it's where the contestants are let loose. They need to transform studio apartments, with one designer hanging up a very distracting "froufrou thing". Will Michelle Ogundehin and former winner Lynsey Ford be impressed?Summer BBQ with Jamie Oliver8pm, Channel 4The final bite of the chef's summer-ready series is a smoke-kissed sesame chicken burger, served with crunchy slaw and a Korean sauce. Add baba ganoush, minty courgettes and a surf'n'turf mixed grill, and we're stuffed – in the very best way.Machine Gun Kelly Goes Wild with Bear Grylls9pm, Sky One"I can't wait to go off this cliff!" Heavily inked US pop-punker Colson Baker, AKA Machine Gun Kelly (or just MGK these days), turns out to be a self-effacing sweetheart as Bear Grylls drags him around a remote Norwegian forest. Slippery abseiling, chomping on water beetles and celebrating the Grease soundtrack are all on the menu.Male Trauma Explored in 'Half Man'10.40pm, BBC OneAfter that explosively disquieting beginning, Richard Gadd's story of male trauma and violence has become bogged down in its characters' unfathomable motivations. Niall, now the adult version played by Jamie Bell, hears that his old nemesis Ruben (Gadd) is out of prison. Against all discernible reason, he becomes obsessed with a reunion.

Florentina Holzinger transformed the Austrian pavilion at the 2026 Venice Biennale into an eight‑hour, weather‑defying installation called “Seaworld Venice”. Naked performers on jetskis, a steel‑crane‑mounted guitarist, a suspended bell‑bellied woman and a scuba‑masked figure submerged for hours turned the lagoon into a living, dripping gallery that left visitors both mesmerised and unsettled. The Spectacle of Seaworld Venice: A Naked Performance Installation The show opens with a barge‑mounted crane that lifts a cast‑iron bell from the water, revealing a tattooed, boot‑clad woman who rocks the bell back and forth. A guitarist climbs the crane’s boom, straddling a steel bar while a vocalist screams in a Yoko Ono‑style howl. Throughout the day, the pavilion’s courtyard becomes a hybrid of theme‑park ride, temple and sewage‑plant, with jetski stunts, contortion acts and a performer submerged in a glass tank of filtered lagoon water. Audience Reaction and Media Frenzy: Social Media Amplifies Controversy Visitors filmed the jetski performance and posted it on Instagram, prompting a temporary suspension of Holzinger’s own Instagram account. “No photography” signs were ignored, turning the pavilion into what the author described as a “human zoo”. The performance’s unabashed nudity sparked heated comments across art‑world blogs and mainstream outlets, reviving long‑standing debates about the limits of public art. Redefining Nudity in Public Art: Cultural Implications Holzinger argues that Venice is “the birthplace of the reclining nude”, questioning why live, unclothed bodies are still deemed provocative. By placing nudity at the baseline rather than the exception, the work challenges traditional museum etiquette and forces audiences to confront their own voyeuristic impulses, especially in an era dominated by smartphone screens. Future of Immersive Performance at Global Biennales “Seaworld Venice” signals a shift toward site‑specific, endurance‑based installations that blur the line between theatre, sport and environmental commentary. As biennales worldwide seek ever more sensational experiences, artists may increasingly employ extreme physicality, real‑time audience interaction and ecological backdrops to capture attention in an oversaturated digital landscape.

Lead: A Ouija‑Board Dialogue with the CanvasSanya Kantarovsky describes his process as “like a Ouija board, I listen to the painting,” a sentiment that permeates his latest exhibition, Basic Failure, which opened in May 2026 at Venice’s Institute of Sciences, Letters and Arts. The show, timed with the 2026 Biennale, confronts viewers with dishevelled figures, uncanny transformations and a lingering sense of alienation. Basic Failure Opens in a Historic Venetian PalazzoSet within a palazzo of high ceilings, dark terrazzo‑marbled floors and walls lined with antique books, the exhibition begins with the diminutive portrait Boy With Cigarette. The painting’s pallid, down‑turned youth, rendered in thick blue brushstrokes, “feels both familiar and kind of alien at the same time,” according to the artist. Nearby, a child spins carefree, creating a visual tension between innocence and menace. Quantifying the Exhibition: Scale and ReachOpening date: May 2026Artist age: 44Venue capacity: approximately 200 visitors per hour during peak Biennale daysNumber of works displayed: over 30 paintings and installations Impact: Re‑defining the Supernatural in Contemporary ArtKantarovsky’s work draws on Russian literary darkness while echoing the metaphysical concerns of Pablo Picasso, Giorgio de Chirico and Milton Avery. By rendering subjects from memory rather than direct observation, he creates “narrative fragments” that challenge conventional storytelling in visual art. The exhibition’s dialogue with religious iconography—referencing Masaccio’s expulsion of Adam and Eve—adds a layer of cultural critique that resonates with the Biennale’s broader exploration of identity and displacement. Looking Ahead: The Future of Narrative FragmentationKantarovsky predicts that his “basic failure” methodology—embracing the inability to fully translate internal visions—will inspire a new wave of artists to explore the unconscious through fragmented, non‑linear imagery. As the Biennale draws global attention, the show is poised to cement his reputation as a provocateur who bridges psycho‑analysis and contemporary painting.

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.