Podcasts about Venice Biennale

Episode No. 762 features artist John Akomfrah. The Menil Collection, Houston is showing "John Akomfrah: The Hour of The Dog" through October 11. The work, co-commissioned by the Menil and the Baltimore Museum of Art, explores the history of the US civil rights movement between 1954 and 1963. The presentation was curated by Michelle White and Cecilia Wichmann. Akomfrah is one of the world's most celebrated film-based artists. His work often investigates memory, colonialism, diaspora, and the intersection of time and aesthetics. He has had solo exhibitions at several Smithsonian museums, the San Francisco Museum of Modern Art, and at the Tate Britain. He represented the UK in the 2024 Venice Biennale, a year after the UK honored him with a knighthood. This is Akomfrah's third time on the program. His previous visits were on Episode No. 332 and Episode No. 339. Air date: June 11, 2026.

Australian-born artist, filmmaker and speculative architect Liam Young discusses his work and cultural influences with John Wilson. Young creates imaginary future worlds through films and art installations to provoke discussion about present-day social and environmental issues – including climate change, energy, migration, and technology. His films, including Planet City and The Great Endeavour, have been shown at the Venice Biennale and museums including MOMA and the Smithsonian and the Barbican Centre in London has staged a major exhibition of his work called In Other Worlds. He holds guest professorships at universities including Princeton, MiT and Cambridge. In the commercial sector, Liam Young works as a consultant to major brands and the film industry on designing visions of the future.Producer: Edwina Pitman

Chameleon is a film by Helen Sear, made in 2012, duration 10 minutes and 41 seconds. This silent film begins in complete darkness in the dead of night, and gradually, a golden sunflower in full bloom, just before going to seed, emerges. Out of frame, the only light source, a single torch with adjustable focus, is used to slowly illuminate the petals that gently sway in the night's breeze. The torch's focus is gradually modified to intensify the light beam onto the centre of the flower. The sunflower begins to take on the impression of an ambiguous moving, staring eye, similar to that of a chameleon that can move in all directions and each eye independently. It then recedes back into the darkness as the torch's focus is reset. Artist, Helen Sear, said: “Sunflowers have always been very iconic in the history of art, including, obviously, Van Gogh, Ai Weiwei, Rose Finn-Kelcey, Man Ray, and many others. And I wanted to try and make a piece of work, which added another dimension to the already much depicted sunflower. “I'm very interested in the kind of porousness between animal, vegetable and mineral, and how sometimes, these things merge together. And while I was looking at the sunflower in its state of full bloom, and just before it was going to seed, I thought it looked very much like an eye that was looking directly at myself. So I wondered how I might be able to capture this feeling, where the flower could in some way become alive or somewhere between a plant or an animal or a mythical being, that is actually looking straight back at the viewer, in a way, looking at them straight in the eye.” Helen Sear's practice focuses on the co-existence of human, animal, and natural environments and is rooted in an interest in Magic Realism, Surrealism and Conceptual Art. She studied Fine Art at Reading University and University College London, Slade School, her practice coming to prominence in the late 1980s, when she worked primarily with mixed-media installation, performance and video. Photography remains a central subject and medium in her work, which often challenges the dominance of the eye and the fixed-point perspective associated with the camera lens, and explores the potential of the artwork to activate and elicit feeling. Sear was the first woman to represent Wales with a solo exhibition at the 56th Venice Biennale 2015, presenting a suite of new works…the rest is smoke. She was elected a Royal Academician in 2024.

Flags over Solva / Fflagiau Dros Solfach is a 1992 film by Tim Davies, duration 3 minutes 16 seconds. This black and white film documents a site-specific event from the hills above Solva, Pembrokeshire, across the quay from The Gribin. In the centre of the windy overcast scene are five metal and wood flag poles, each a monumental 15 feet high, positioned next to each other in a group. The view of the village Solva in the background across the quay. The flags tussling and rippling in the wind and crashing into one another with each gust. Each flag is a long thin symmetrical triangle shape, with two central light-coloured flags surrounded by darker flags on either side. The flag poles are secured to the ground just under halfway down with supporting rope that creates a tripod like form, attached to the ground with white pegs. In the making of Flags over Solva, Davies had created the flag poles in parts so that they would be ready to assemble as needed and spent a week introducing them into the Solva landscape in a variety of configurations. Having spent part of his childhood in Solva, staying with his grandfather, it is a place well known to him. Using flags as monument, he explored the notion of land ownership as temporary, claiming a site for the duration of each intervention. From the innocent connotation of flags as a plaything for children marking sandcastles, reclaimed by the tide, to the implications of the moon landings; to lamenting the loss and disempowerment of local ownership in relation to Welsh cultural identity, the work references contested land ownership and the object as a signifier of site. The core of Davies' work is rooted in working time- and site-specifically, using 2- and 3-dimensional and performative media. His practice also explores the written, spoken and visualised word. Born in Haverfordwest, Pembrokeshire in 1960, Davies studied Fine Art at Norwich School of Art and completed an MA in Issues in Art & Architecture at the University for the Creative Arts in Canterbury. He has worked in a range of media over the last 30 years, exhibiting and making work in Wales, the UK and internationally. He has received many awards, including the Mostyn Open prize, the Gold Medal in Fine Art at the National Eisteddfod and a major Creative Wales Award. He was the first European artist shortlisted for the Artes Mundi Visual Arts Prize and represented Wales in a solo show at the Venice Biennale in 2011. Flags over Solva was acquired in 2005 through the Wakelin Award, an annual award given to an artist living and working in Wales, whose work is purchased for the Glynn Vivian Art Gallery's permanent collection.

Armageddon is a film by Peter Finnemore, made in 2005, duration 1 minute and 41 seconds. The film opens with a sizzle, to a firework erupting inside a domestic garden glass greenhouse supported by a silver metal frame on a late summer evening. Smoke fills the space and escapes through the entrance into the night sky as the firework continues to fire, shooting golden fiery trails upwards to the roof of the greenhouse. Golden pinpricks stud the space between clusters of gold flashing explosions, until the final splash of golden seeds fall to the black weed membrane covered ground; a cascade of smoke still emanating from the greenhouse. The cacophony of intense sparks and noise within an enclosed environment is disorientating, the viewer is drawn into the unlikely spectacle that evokes a warlike hellscape. The inspiration of the film was abstract like night-time WW2 footage from the Battle of Al Alamein. This film was first shown in Peter Finnemore's site specific three screen installation at the Venice Biennale in 2005. This work is part of the Zen Gardener series.

NZ social cohesion and views on migration is a topic of a recent survey.  State of US-China relations after Xi-Trump summit. Arts and politics meet in Venice Biennale.  NZ MPs sanctioned by China for visiting Taiwan.

Researcher, artist, and curator Pietro Consolandi traces the ‘wetland turn' in art, ecology, and environmental justice, via Giovanni Pellegrini's 2025 documentary film, The Venice Lagoon, a legal person.Nature Speaks: Listening for Rights of Nature in Venice and Europe is at Ocean Space in Venice until 11 October 2026. The Research Unit, curated by Pietro Consolandi and Amalia Rossi, is co-produced by TBA21–Academy and NICHE Centre for Environmental Humanities, Ca' Foscari University of Venice, in collaboration with IDRA (Initiative for the Rights of Water) and the Confluence of European Water Bodies. You can join the next Citizens' Assembly for the Rights of the Lagoon on 10 October 2026.The Venice Lagoon, a legal person (2025) is available to watch online.For more about water bodies in Europe, hear Klima Biennale Wien festival director Sithara Pathirana on climate justice, public space and the rights of the river Danube through Austria, Central, Eastern, and Southeastern Europe, in the episode about Superflux's sculptural installation, Nobody Told Me Rivers Dream (2025): pod.link/1533637675/episode/ZWQ4Mzg0Y2MtMWFkMy00ZmJkLWIyZjUtNGU3MmJmODM2ODExOn the flows between Wales and Venice, listen to artist ⁠Taloi Havini⁠, winner of Artes Mundi 10, on their film Habitat (2017) at Mostyn in Llandudno, and work with Ocean Space in Venice: pod.link/1533637675/episode/e30bd079e3b389a1d7e68f5e2937a797On archaeologist Marija Gimbutas, hear Emilija Škarnulytė on their film installation, Burial (2022), part of Folkestone Triennial 2025: pod.link/1533637675/episode/ZmJmZTIzMGItOTg0OC00YjhhLThkMjMtMWQ3Y2E5ZDU5MDAzAnd for more about Southampton's coastal connections to Europe, hear curators Ros Carter and Sofie Krogh Christensen on Pia Arke's Camera Obscura (1990) at John Hansard Gallery in Southampton and KW Institute for Contemporary Art in Berlin: pod.link/1533637675/episode/OWVhZjc3YWItNDRiYy00MTYyLTk0ZmItZmE5MmJlZDY1YmI1PRODUCER: Jelena Sofronijevic.Follow EMPIRE LINES on Instagram: ⁠⁠instagram.com/empirelinespodcast⁠⁠Support EMPIRE LINES on Patreon: ⁠⁠patreon.com/empirelinesEMPIRE LINES is a project within the ecosystem of ⁠Radical Ecology⁠ (2025-2026).

Monocle on Culture returns. Robert Bound is joined by culture editor Sophie Monaghan-Coombs, fresh from the Venice Biennale, to discuss everything from the pavilions to the protests. Plus: we hear from artists Michael Armitage and Lorna Simpson.See omnystudio.com/listener for privacy information.

Arthur Jafa is probably the most revered artist of the last decade. Born in 1960, in Tupelo, Mississippi, he came up through the world of cinema. But Jafa also found his way into the art world with his difficult video work and strange objects. In art, his reputation went viral in 2016 with the video, Love Is the Message, the Message Is Death. It is a collage of found footage from social media that included police violence against Black people and also moments of viral celebration and joy. It was both experimental and accessible, and drew huge crowds when it was first shown at Gavin Brown's Enterprise in New York. A follow-up film, called The White Album, won the Golden Lion for Best Artist as part of the main show of the Venice Biennale back in 2019. And this month, Jafa is back in Venice, this time in a two-person show called “Helter Skelter,” curated by Nancy Spector, pairing him with the famous artist Richard Prince, also known for using found and appropriated imagery to disorienting effect. That show opened alongside the Venice Biennale at the Prada Foundation, and was one of the few things during the opening weekend that everyone could agree was a must-see event. Jafa has also curated a show currently on view at the Museum of Modern Art, called “Less Is Morbid,” a deliberately packed display of his favorite art. He is also one of the winners of this year's Art Basel Award, to be honored at that fair. In the middle of all this intense activity, Jafa agreed to talk to Artnet's Ben Davis about his art, his view of art history, and what comes next.

What exactly is a biennale, and why do they matter in the art world? In this solo episode, I'm breaking down one of the art world's most iconic and contested formats, from its origins at the very first Venice Biennale in 1895 to the sprawling, politically charged mega-exhibitions we know today.In the episode, we move through the history of how biennales evolved from nationalist showcases into curator-led events grappling with postcolonial discourse, identity politics, and climate change. I then touch on some of the most influential editions across Venice, São Paulo, Kassel, and beyond. We get into the controversies, including the the Dana Schutz and Open Casket debate at the 2017 Whitney Biennial, the board resignation that followed artist protests in 2019, and the antisemitism scandal that overshadowed Documenta 15 in 2022.Sources:Paintings from the Venice Biennale – ListoryIn 1895, the 1st Venice Biennale faces its first censorship scandal – Arte BrasileirosThe Dana Schutz Emmett Till painting controversy at the Whitney Biennial – The GuardianWarren Kanders resigns from Whitney Museum board – The New York TimesStatement by Taring Padi on dismantling People's Justice – Documenta FifteenWho Killed the Independent Curator? – Frieze- - - - - If you love what we do, support ALL ABOUT ART on PATREON!  ⁠https://www.patreon.com/allaboutart⁠Keep up to date on Instagram @allaboutartpodcast  ⁠https://www.instagram.com/allaboutartpodcast/⁠ ABOUT THE HOST:I am an Austrian-American art historian, curator, and writer. I obtained my BA in History of Art at University College London and my MA in Arts Administration and Cultural Policy at Goldsmiths, University of London. My specializations are in contemporary art and the contemporary art market along with accessibility, engagement, and the demystification of the professional art sector.SOCIALS: Instagram⁠ @alexandrasteinacker https://www.instagram.com/alexandrasteinackerand LinkedIn at ⁠Alexandra Steinacker-Clark⁠ https://www.linkedin.com/in/alexandra-steinacker/This episode is produced at Synergy https://synergy.tech/the-clubhouse/the-podcast-studio/ COVER ART: Lisa Schrofner a.k.a Liser⁠ ⁠⁠https://www.liser-art.com/ and Luca Laurence https://www.graffitikunst.at/Research and Creative Assistant: Iris Epstein

Arthur Jafa is probably the most revered artist of the last decade. Born in 1960, in Tupelo, Mississippi, he came up through the world of cinema. But Jafa also found his way into the art world with his difficult video work and strange objects. In art, his reputation went viral in 2016 with the video, Love Is the Message, the Message Is Death. It is a collage of found footage from social media that included police violence against Black people and also moments of viral celebration and joy. It was both experimental and accessible, and drew huge crowds when it was first shown at Gavin Brown's Enterprise in New York. A follow-up film, called The White Album, won the Golden Lion for Best Artist as part of the main show of the Venice Biennale back in 2019. And this month, Jafa is back in Venice, this time in a two-person show called “Helter Skelter,” curated by Nancy Spector, pairing him with the famous artist Richard Prince, also known for using found and appropriated imagery to disorienting effect. That show opened alongside the Venice Biennale at the Prada Foundation, and was one of the few things during the opening weekend that everyone could agree was a must-see event. Jafa has also curated a show currently on view at the Museum of Modern Art, called “Less Is Morbid,” a deliberately packed display of his favorite art. He is also one of the winners of this year's Art Basel Award, to be honored at that fair. In the middle of all this intense activity, Jafa agreed to talk to Artnet's Ben Davis about his art, his view of art history, and what comes next.

MoneyFM 89.3 Saturday Mornings Show host Glenn van Zutphen is joined in the studio by Robbie Hoyes-Cock and Joseph Bakhsh of Art Vault Asia to preview this extraordinary showcase — Leica’s first oil‑on‑canvas exhibition in Southeast Asia, timed with the auspicious Year of the Fire Horse. This week on Leaders in Action, we spotlight a landmark moment in Asia’s contemporary art scene: “Fire Horse – The Decisive Moment,” a major exhibition by internationally acclaimed Beijing‑based artist Ma Dongmin, presented by Art Vault Asia in partnership with Leica Singapore. The exhibition features 23 works from Ma’s celebrated Blue Fire Horse Collection, including new pieces like Twilight Ascension, Radiant Storm, Velvet Thunder, and Celestial Pulse. Ma Dongmin — a three‑time Venice Biennale honouree — is known for his “misty lens” technique, blending Eastern philosophical depth with Western conceptual rigour. We explore:

Kate Adie introduces stories on President Trump's visit to China, the Palestine marathon, the Venice Biennale boycott, a young woman's search for her mother in India, and living in the fast lane with Sierra Leone's First Lady.Laura Bicker has been in Beijing where military parades, red carpets and singing choirs of children greeted Donald Trump as he arrived for talks with President Xi. So what progress was made in China-US relations after a frosty period?Wyre Davies has been in Bethlehem watching on as runners from around the world took part in the 10th Palestine Marathon - a burst of positivity after the race was postponed amid the war between Hamas and Israel, following the October 2023 attacks.The Venice Biennale and the Eurovision song contest were both founded with the intention of bringing nations together through art - but Kirsty Lang finds, upon visiting Venice, an art festival swept up in a clash with global politics.In the Indian state of Maharashtra, Tanya Datta travels with a young woman in search of her birth-mother after she was adopted by a French family and grew up in France. As she goes to the place of her birth, she finds an unexpected connection.And Megha Mohan recounts a hair-raising journey travelling in the motorcade of Sierra Leone's first lady, Fatima Bio - en route to interview her in the Presidential Palace.Series Producer: Serena Tarling Production Coordinators: Katie Morrison & Sophie Hill Editor: Richard Fenton-Smith

Welcome to The Times of Israel's Daily Briefing, your 20-minute audio update on what's happening in Israel, the Middle East and the Jewish world. Arts and culture editor Jessica Steinberg joins host Gabriella Jacobs for today's episode. We begin by discussing a series of vociferous protests against Israel’s inclusion in the 61st Venice Biennale contemporary art exhibition, including the jury’s resignation. Steinberg explains that these protests are only the most recent in a much wider cultural boycott of Israel. We move on to talk about “The Eichmann Trial,” a new play written by Motti Lerner and directed by Ilan Ronen and performed exactly where the senior Nazi party member was prosecuted 65 years ago. Through survivors' eye-witness emotional stories, the play reenacts their chilling accounts about what happened in the war, in concentration camps, in ghettos, and in the forests. Steinberg notes that the content of the play has extra resonance now, in a post-October 7, 2023, landscape. We close by exploring the creations of Yaacov Agam, one of the prominent and influential figures in the international and Israeli world of art. Agam's work "clearly reflects the spirit of Israeli creativity, innovation, breaking barriers, the connection between tradition and modernity, and a broad universal vision,” according to the first paragraph of the Hebrew text on the Israel Prize he recently received. Steinberg delves into how his artwork is inspired by his spiritual view of Judaism and his upbringing as the son of a rabbi. Subscribe to The Times of Israel Daily Briefing on Apple Podcasts, Spotify, YouTube, or wherever you get your podcasts. This episode was produced by Ari Schlacht.See omnystudio.com/listener for privacy information.

This week, Marie Krimphoff and Carolyn Stocker-Seiler (Bergos Art Consult) report from the Venice Biennale 2026. They share their impressions from the opening week, discuss the highlights of this year's edition – from the main exhibition, curated by Koyo Kouoh, to standout national pavilions and satellite exhibitions across the city – and reflect on what the Biennale means for the contemporary art market.DISCLAIMER This publication is for information- and marketing purposes only. The provided information is not legally binding and neither constitutes a financial analysis, nor an offer for investment-transactions or an investment advice and does not substitute any legal, tax or financial advice. Bergos AG does not accept any liability for the accuracy, correctness or completeness of the information. Bergos AG excludes any liability for the realisation of forecasts or other statements contained in the publication. The reproduction in part or in full without prior written permission of Bergos is not permitted.

Today, Roland-Philippe Kretzschmar is joined by Nadya Tolokonnikova — conceptual artist, musician, activist, wanted criminal, and one of the founders of Pussy Riot, the Russian feminist protest-art collective formed in Moscow in 2011.Tolokonnikova spent nearly two years in a Russian prison after Pussy Riot's 2012 performance Punk Prayer inside Moscow's Cathedral of Christ the Saviour — an action that transformed a brief act of punk dissent into one of the defining works of political performance art of the 21st century. Since then, her work has continued to confront the spaces where power presents itself as untouchable: the church, the state, the prison system, the museum, the media image.That history matters in Venice. A national pavilion at the Biennale is never just architecture. It is a state speaking through culture.Last week, in May 2026, as Russia returned to the Venice Biennale for the first time since the full-scale invasion of Ukraine, Pussy Riot and FEMEN staged two connected protests. On May 6, they confronted the Russian Pavilion itself, using Ukrainian flags, pink balaclavas, smoke, flares, punk music, and slogans against Russia's war. The action forced the pavilion to close temporarily. On May 7, the confrontation moved from the pavilion to the institution that had allowed Russia back in. At Ca' Giustinian, the headquarters of the Biennale Foundation, Tolokonnikova and the protesters challenged the Biennale's leadership and its president, Pietrangelo Buttafuoco, over the claim that culture can remain neutral while being used by the Russian state. Reuters reported that the demonstration continued from the previous day's action at the Russian Pavilion and was redirected by police to the Biennale Foundation's headquarters, where flares in the colours of Ukraine were ignited. This continuity — from the cathedral in Moscow to the pavilion in Venice, and from the pavilion to the Biennale's own leadership — sits at the centre of our conversation.Tolokonnikova's recent work has only sharpened this confrontation between art, punishment, and political theatre. Her 2023 performance and exhibition Putin's Ashes, later shown at institutions and galleries including Dallas Contemporary, turned the image of Putin into ritual material and helped place her back on Russia's wanted list. In 2025, POLICE STATE premiered at MOCA in Los Angeles as a durational performance and installation built around the architecture of confinement, before travelling to MCA Chicago later that year. Her accolades include Time Woman of the Year, the Hannah Arendt Prize for Political Thought, the LennonOno Grant for Peace, the Woody Guthrie Prize, and an Honorary Doctorate from RISD. She also carries, as a kind of involuntary badge of honour, the Russian Federation's 2025 designation of Pussy Riot as an extremist organisation — a reminder that, in authoritarian systems, art is not treated as metaphor when it threatens power. Reuters also reported that Pussy Riot was declared an extremist organisation and banned in Russia in 2025. So this episode is about protest as art, culture as power, exile, propaganda, and the impossibility of neutrality when neutrality itself becomes a political position. Hosted on Acast. See acast.com/privacy for more information.

The meeting between President Donald Trump and his Chinese counterpart Xi Jinping will set the tone for three more this year. We examine what and what not to expect. Pepsi has been losing ground to Coca Cola recently; to catch up, it may have to become more like its rival. And this year's Venice Biennale is uncomfortably besieged by geopolitics. Guests and host:Simon Rabinovitch, Beijing bureau chiefShera Avi-Yonah, business correspondentAlexandra Suich Bass, culture editorRosie Blau, co-host of “The Intelligence”Jason Palmer, co-host of “The Intelligence”Topics covered: Trump/Xi summit, geopoliticsCoca Cola, Pepsi, businessVenice Biennale, cultureGet a world of insights by subscribing to Economist Podcasts+. For more information about how to access Economist Podcasts+, please visit our FAQs page or watch our video explaining how to link your account. Hosted on Acast. See acast.com/privacy for more information.

The meeting between President Donald Trump and his Chinese counterpart Xi Jinping will set the tone for three more this year. We examine what and what not to expect. Pepsi has been losing ground to Coca Cola recently; to catch up, it may have to become more like its rival. And this year's Venice Biennale is uncomfortably besieged by geopolitics. Guests and host:Simon Rabinovitch, Beijing bureau chiefShera Avi-Yonah, business correspondentAlexandra Suich Bass, culture editorRosie Blau, co-host of “The Intelligence”Jason Palmer, co-host of “The Intelligence”Topics covered: Trump/Xi summit, geopoliticsCoca Cola, Pepsi, businessVenice Biennale, cultureGet a world of insights by subscribing to Economist Podcasts+. For more information about how to access Economist Podcasts+, please visit our FAQs page or watch our video explaining how to link your account. Hosted on Acast. See acast.com/privacy for more information.

This year marks the tercentenary of polymath Sir John Vanbrugh, regarded as the rockstar architect of the Baroque era. Art historian Sir Charles Saumerez Smith, co-curator of the Vanbrugh exhibition at the Sir John Soane's Museum, and Rory Fraser who is writing a biography on Vanbrugh, discuss the man happy creating dramas for the British stage and dramatic buildings on the British landscape.Turner Prize-winning artist Lubaina Himid is known for her distinctive brightly coloured paintings of black characters. She reflects on representing Great Britain at this year's Venice Biennale, and her ambition as a painter to capture the awkward moment.Marking tonight's first semi-final of the Eurovision Song Contest, television critic Scott Bryan assesses this year's runners and riders aiming to win the song for Europe.Theatre and opera director Kip Williams on directing the UK premiere of the Pulitzer prize-winning opera Angel's Bone which has its UK premiere in Manchester tonight. Fresh from directing one-woman shows with Cynthia Erivo in Dracula, and Sarah Snook in The Picture of Dorian Gray, he talks about juggling the challenges of a contemporary genre-fusing opera.Presented by Nick Ahad Produced by Ekene Akalawu

Critics Ben Luke and Aviva Dautch bring us all the news from The Venice Biennale. Following the death of the great Shakespearean actor Michael Pennington, we speak to former RSC Director Gregory Doran about his impact on the stage. A new small exhibition Elizabeth I: Queen and Court Is running in London. It includes rarely seen portraits of The Virgin Queen that are normally held in private collections. Historians Tracy Borman and Siobhan Clarke join Tom to talk about the crossover between portraits and propaganda for 16th century monarchs Hilary Mantel's controversial 2015 short story, The Assassination of Margaret Thatcher, has been adapted for stage at the Liverpool Everyman Theatre. We speak to playwright Alexandra Wood about why she chose to re-tell this story now.Presenter: Tom Sutcliffe

6/16: Lorenzo Fiori discusses Secretary of State Marco Rubio's meeting with the Pope to mend relations. He also addresses controversy at the Venice Biennale, arguing art should serve as a bridge between nations during conflict. The segment concludes with celebrations for the 800th anniversary of St. Francis.1881

SCHEDULE OF THE JOHN BATCHELOR SHOW, 5-8-2026.1900 VERA CRUZ.1/16: Jeff Bliss discusses the Los Angeles mayor's race, highlighting actor Spencer Pratt's surprising success in a recent debate. Pratt earned 83% viewer support by using AI-generated campaign videos to critique incumbents Karen Bass and Nithia Ramen. Critics question if an actor can successfully navigate the city council.2/16: Jeff Bliss analyzes the California governor's race, focusing on Republican outsider Steve Hilton. Hilton positions himself as a reformer against Democrats like Xavier Becerra and Tom Steyer. The segment also touches on the construction of a new Las Vegas baseball stadium for the A's.3/16: Richard Epstein explores legal challenges regarding redistricting following Louisiana v. Kales. He details the evolution of the Voting Rights Act from addressing racial exclusion to modern debates over partisan gerrymandering. Epstein argues that while technology aids gerrymandering, it increases electoral risks in "wave" elections.4/16: Richard Epstein evaluates the Middle East crisis, advocating for unconditional surrender against bad actors like Iran. He criticizes current US foreign policy for ambiguity. Epstein emphasizes that long-term stability requires regime change and overwhelming force to break the influence of hostile regional powers.5/16: Jim McTague reports on Lancaster County's economy, noting a significant drop in restaurant foot traffic due to rising gasoline prices. While younger crowds have slowed spending, senior citizens remain active. The segment also covers the local job fair, where highly skilled technical positions remain in high demand.6/16: Lorenzo Fiori discusses Secretary of State Marco Rubio's meeting with the Pope to mend relations. He also addresses controversy at the Venice Biennale, arguing art should serve as a bridge between nations during conflict. The segment concludes with celebrations for the 800th anniversary of St. Francis.7/16: Bob Zimmerman examines the burgeoning private space industry in India and the US. He discusses the shortage of solid rocket boosters and competition between Lockheed Martin and Northrup Grumman. Additionally, Zimmerman describes a complex "dance" in orbit involving American, Russian, and Chinese inspector satellites.8/16: Bob Zimmerman critiques the failure of UK spaceports due to excessive bureaucracy. He provides updates on NASA's Curiosity rover, which recently freed a stuck rock from its drill on Mars. Furthermore, the Juno mission continues its observations of Jupiter's moons despite running low on fuel.9/16: Evan Ellis discusses the unprecedented US indictment of sitting Sinaloa Governor Ruben Rocha Moya for ties to the Sinaloa cartel. The indictment reveals deep corruption within the Mexican political system. Ellis explains how cartels utilize global networks and legitimate legal firms to launder billions.10/16: Evan Ellis analyzes Argentina's recovery, highlighting a 5% increase in industrial output. President Javier Milei's fiscal policies have stabilized the currency, though global factors keep inflation high. Despite economic progress, Milei's inner circle faces ongoing corruption investigations that could impact his political momentum.11/16: Evan Ellis reports on Venezuela's repressive regime, which continues to hold political prisoners despite an economic reopening. He discusses the US fuel blockade on Cuba and its humanitarian impact. Potential resolutions include naming a date for Venezuelan elections and ratcheting diplomatic pressure on the Cuban leadership.12/16: Evan Ellis examines neck-and-neck presidential races in Peru and Colombia. In Peru, the contest between Keiko Fujimori and Roberto Sanchez carries implications for relations with China. Colombia faces a similar choice between right-wing candidates and the leftist Ivan Cepeda, affecting future security cooperation.13/16: Tal Fortgang discusses St. Mary Catholic Parish v. Roy, a case involving state subsidies for religious schools. Colorado is accused of using secular conditions to exclude religious institutions from preschool programs. The case questions whether states can constitutionally bar religious parents from generally available public benefits.14/16: Tal Fortgang highlights an ecumenical coalition opposing discrimination against religious groups. He cites the Notre Dame Education Law Project as a leader in identifying and rooting out residual legal biases. The segment details specific hostilities in Colorado, where social progressivism often clashes with traditional religious institutions.15/16: Gene Marks observes steady business for construction and safety industries across the US. He notes that raw material costs have surged significantly. Despite inflation, consumer spending remains vigorous, with major retailers like Amazon reporting their strongest retail growth since the pandemic.16/16: Gene Marks explains how small businesses are developing custom AI applications to improve productivity. He highlights tools like Claude for automating sales quotes and executive summaries. However, researchers warn that AI's tendency toward sycophancy and charm can sometimes mislead users in professional settings.

Russia's annual Victory Day parade in Moscow coincided with a three-day ceasefire between Russia and Ukraine, announced by President Trump. President Zelensky ordered his forces not to target the event, which commemorates the defeat of Nazi Germany. It was much scaled back this year because of the war, with no armoured vehicles or ballistic missiles on display. Also in the programme: Hungary's new parliament is meeting, heralding a shift in direction under the new prime minister; and the Venice Biennale art exhibition starts today, with calls for boycotts of artists from Russia and Israel - but not everyone agrees. (Photo: Russian President Vladimir Putin attends a ceremony as the country marks the 81st anniversary of the victory in World War II. Credit: Alexander Nemenov/ EPA/Shuttershock)

We explore whether early controversies over this year’s Venice Biennale have eclipsed the art with our culture editor, Sophie Monaghan-Coombs. Plus: Russia’s Victory Day parade and our weekly Friday quiz.See omnystudio.com/listener for privacy information.

We discuss what next for Donald Trump’s tariffs as he is pushed back for a second time by a US trade court. Then: protests over Russia at the Venice Biennale. Plus: the latest cultural news. See omnystudio.com/listener for privacy information.

In this episode, host Peter Bauman (Le Random's editor in chief) speaks with artists Trevor Paglen and Primavera De Filippi about Protocol art.The occasion is Strange Rules, the landmark group exhibition co-conceived by Hans Ulrich Obrist, Holly Herndon, and Mat Dryhurst, running at the Palazzo Diedo in Venice for the full duration of the Biennale. The show offers the most institutionally significant framing of protocol art to date, and Paglen and De Filippi represent two of its most distinct vantages.The conversation opens with the question of how each artist situates their practice within the protocol framework. Paglen, long known as a revealer of hidden infrastructures, reflects on a career built between systems observation and systems intervention. He and on how his new work Voyager marks a turn inward, toward consciousness rather than exposure. De Filippi, a longtime Protocol art theorist and one of the few artists to self-define as a protocol artist, walks through her Protocolism Manifesto and the decade-long Plantoid project that preceded it, sharpening a key distinction: the difference between making art on top of a protocol and making the protocol itself as the creative act.Meanwhile, our Monday Editorial with Shohei Fujimoto completes our Venice Biennale coverage for the week. (More to come!)00:04 Introduction & The Strange Rules Exhibition01:39 Trevor Paglen's Work: Voyager and the Pivot Inward02:49 Trevor Paglen on Protocol Art & Post-Minimal Influences04:57 Primavera De Filippi Defines Protocol Art & the Protocolism Manifesto08:13 Voyager Explained: AI That Hypnotizes You10:22 Plantoid: The Self-Replicating Blockchain Sculpture13:34 The Breadth of Protocol Art & the Venice Biennale as Platform17:43 Why Protocol Art Is Rising: Generative AI & the Meta-Layer20:57 Photography, Modernism & the Current AI Rupture23:35 Capital-A Algorithm: Fear, Critique & Alternatives26:36 Embracing the Algorithm: Open Source & Artistic Autonomy30:05 Consciousness, Entanglement & Voyager's Six Journeys33:41 Synthetic Life, Symbionts & Machine Qualia39:05 Protocol Art as a Lens for Economics, Politics & Technology42:34 Protocol vs. Instantiation, Copyright & Closing Thoughts

Three women with links to the jihadist Islamic State group have been arrested on returning home to Australia following years in detention in Syria. Also on the programme, Newshour goes to Baltimore to speak to families affected by the 2024 bridge collapse and now avoiding deportation, and protests against the Russian full-scale invasion of Ukraine rock the Venice Biennale.(Photo: Islamic State-linked families return to Australia, Melbourne, 7 May, 2026. Credit: Joel Carrett/EPA-EFE)

At the Venice Biennale, every two years, we expect big things from the artists picked to represent their countries. But I'm not sure anyone can quite prepare themselves for the universe of Florentina Holzinger. After years becoming a titan of the theater world, Holzinger is now getting one of the most visible slots in the art world, a national pavilion in the Giardini. She's representing Austria this year for what is surely going to be one of the most talked about pavilions. Known for feminist performances that push the human body—and, by extension, the viewer—to their absolute limits, she does not shy away from nudity or sexuality. Flesh hooks, stunt artistry, live tattooing, bodily fluids, heavy machinery—all of it is in play, and none of it is trying to be polite. The physicality of her practice is not for the faint of heart, nor for her performers. Her work tends to divide a room, something Holzinger seems entirely unbothered by. Opening May 9th, her exhibition called “Seaworld Venice” fills the Austrian Pavilion with water, turning it into an underwater theme park and a fully functional sewage treatment plant. Audiences can be part of the work: they can urinate in the onsite portable toilets, and their fluids will get cleaned and cycled back into the tanks. The work is about the human body, but it's also about ecology and about Venice itself, a city that is sinking, built on water it cannot drink, overwhelmed by the waste of mass tourism. Kate Brown spoke with Holzinger about what went into building her trailblazing project for Venice, about the move from theater and dance into the art world, and about what it means to make genuinely uncompromising work.

‘Art and politics can totally be separated!' said no one ever – apart from the organisers of the Venice Biennale, a.k.a. the Olympics of the art world. This week we're diving into the fallout from the Biennale's decision to allow both Russia and Israel to participate. We're also looking at a case study of why it's so problematic to welcome Moscow to events that showcase its (Kremlin-approved) cultural offerings: the film Mr Nobody Against Putin, whose co-director Pavel Talankin, we are happy to report, has now happily been reunited with his mislaid Oscar. A round of applause for Lufthansa!It's taken us many years to get over our bitterness that there are some other kids on the block called The Europeans, but since it's Europe Day this Saturday, we've decided to bury the hatchet. This week we're delighted to be joined by the Dutch writer Arnold van Bruggen, one half of the photo-documentary project The Europeans. Along with the photographer Rob Hornstra, Arnold is spending the decade chronicling life around a continent that, as he puts it, is being rocked by a perfect storm of political, social and environmental changes. We spoke to Arnold about the latest chapter of the project, in which they got to know the migrant workers who keep southern Spain's giant greenhouse region running. This interview is brought to you in partnership with the European Cultural Foundation.This week's Inspiration Station recommendations are Repro Uncensored, which is doing fine work highlighting a wave of shutdowns of queer Instagram accounts, and Rotraut Susanne Berner's seasonal Wimmelbilderbücher for kids.EUROPE DAY: How's your prep going? Got your Rösti at the ready? If you'd like to spend Saturday celebrating everything that's wonderful about this continent (and maybe discussing some things we could fix) in the presence of other human beings, our friends at the European Cultural Foundation have a great list of events, from film screenings to family days out. Find your nearest at europeday.eu. #HappyEuropeDay!DON'T MISS OUR INAUGURAL BOOK CLUB PODCAST: You still have a week to read Vincenzo Latronico's pleasingly short ‘Perfection', although we're confident you'll still enjoy next Thursday's conversation about possibly the Berlin novel of our time even if you've never heard of it. Book nerds may want to sign up to support the podcast this week, because we'll be bringing you a longer version of the conversation – brought to you in collaboration with the European Review of Books – on Patreon.Speaking of bonus content: you'll find some extra snippets of our conversation with Arnold van Bruggen at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/europeanspodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (or in your inbox if you subscribe via our website).The Europeans is made possible by listener contributions – we cannot continue to make the show without you! If you like what we do, you can chip in to help us cover our production costs on Patreon in many different currencies, or you can gift a donation to a superfan. You can also donate via our website if you prefer. And finally: we'd also love it if you could tell two friends about this podcast. We think two feels like a reasonable number.Resources for this episode:Amsterdammers can catch The (other) Europeans' exhibition Plastic Sea, Perfect Storm at Domo until next Wednesday. The book version launches at the same venue on May 7 at 4pm.Madrileños can catch the exhibition at PHotoESPAÑA from June 4.Produced by Katy Lee and Wojciech OleksiakMixing and mastering by Wojciech OleksiakMusic by Jim Barne and Mariska MartinaThe Europeans is proudly produced using Europe's own Hindenburg.YouTube | Bluesky | Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | Mastodon⁠⁠⁠⁠⁠⁠⁠⁠⁠ | Substack | hello@europeanspodcast.com

It's Venice Biennale opening week and so, as ever, this episode is our Venice special. The Biennale comprises many aspects: an international exhibition that this year features more than 100 artists in the Central Pavilion in the Giardini—Venice's easternmost gardens—and the Arsenale, the historic Venetian shipyards, as well as national pavilions and, across the city, countless official collateral exhibitions alongside major museum shows, performances and other interventions. We bring you our immediate impressions of this year's offering: Louisa Buck, Jane Morris and host Ben Luke review the main exhibition, In Minor Keys, curated by the late Koyo Kouoh and realised by five of her collaborators. Ben talks to two artists: Gabrielle Goliath whose work for the South African pavilion was cancelled and is being staged in a church in the heart of Venice, and Lubaina Himid, who is showing in the British pavilion in the Giardini. He also meets the writer and thinker Saidiya Hartman, two of whose essays have inspired a production called Minor Music at the End of the World, staged at Venice's Goldoni Theatre and featuring contributions from, among others, the artists Arthur Jafa, Precious Okoyomon and Okwui Okpokwaseli. And The Art Newspaper's digital editor, Alexander Morrison, talks to Daniella Kaliada, one of the team behind Official. Unofficial. Belarus., a collateral art project by Belarus Free Theatre. Finally, we always end our Venice specials with a historic masterpiece, and in this episode's Work of the Week, we look at two: Jacopo Tintoretto's The Last Supper and The Israelites in the Desert of 1591-92, the pair of paintings made for the presbytery of the Basilica of San Giorgio Maggiore. The paintings have just returned to the basilica after a major conservation project, funded by the charity Save Venice, and Ben spoke to Save Venice's Senior Researcher, Gabriele Matino, about them.In Minor Keys, 9 May-22 NovemberGabrielle Goliath: Elegy, Chiesa di Sant'Antonin, 5 May-31 JulyPredicting History: Testing Translation, British Pavilion, 9 May-22 NovemberOfficial. Unofficial. Belarus., Chiesa di San Giovanni Evangelista di Venezia, 9 May-22 NovemberVisit savevenice.org Hosted on Acast. See acast.com/privacy for more information.

Turner Prize-winning Artist Lubaina Himid talks to John Wilson about her formative influences. She made her name in the mid-1980s as a pioneering member of the British black arts movement, organising exhibitions to champion the work of fellow women artists. Having trained as a theatre designer, her paintings and installation pieces often have a strong narrative aspect, telling stories of race, history and identity. In 2017, at the age of 63, she became the oldest artist to win the Turner Prize, as well as the first black woman to do so. The following year, she was made a CBE for services to art. In 2026, Lubaina Himid will represent Britain at the international arts festival, the Venice Biennale.Producer: Edwina Pitman

One of the world's most prestigious contemporary art shows, the Venice Biennale, is just days away from its official opening. The opening comes just days after the show's jury resigned prompting a change to the system for awarding the prestigious Golden Lion awards associated with the show. - Eine der weltweit renommiertesten Ausstellungen für zeitgenössische Kunst, die Biennale von Venedig, steht kurz vor ihrer offiziellen Eröffnung am 9. Mai.Die Eröffnung findet nur wenige Tage nach dem Rücktritt der Jury statt, die sich im Vorfeld gegen die Teilnahme Israels und Russlands ausgesprochen hatte.

Antony Gormley joins Samira Ahmed. The sculptor and artist is best known for landmarks such as Angel of the North or the beach figures of Another Place, in Liverpool. But Antony has also been exhibiting drawings since the 80s and with the publication of the book Drawing he tells Samira what this art means to him.After the Devil Wears Prada 2 topped the box office this week, BBC New Generation Thinker Dr. Sarah Smyth and author and critic Hanna Flint discuss how films depict women, work and romance.Following the resignation of the entire jury last week, we discuss the fraught politics of the Venice Biennale with Ed Behrens, editor of visual arts magazine Apollo.Bruce Dickinson joins Samira to talk about the new documentary Iron Maiden: Burning Ambition.Presenter: Samira Ahmed Producer: Harry Graham

Acclaimed author Siri Hustvedt on Ghost Stories, her memoir of her marriage to novelist, poet and filmmaker Paul Auster and her grief following his death in 2024. Following last night's live report on the controversies surrounding this year's Venice Biennale, we are joined by one of the curators of the Ukrainian Pavillion, to hear how a concrete sculpture of a deer rescued from the frontline of the conflict in Ukraine forms the centrepiece of their exhibit. As a new documentary - Salm Nan Daoine (Psalms of the People) explores how the Gaelic Psalm singing tradition is being kept alive in communities across Scotland and Ireland, singer and musician Rob MacNeacail talks about the history of the tradition and gives us a live demonstration in the studio. And as a major new project is launched by the National Theatre of Scotland to enable care-experienced people to tell authentic stories about their lives,, playwright Nicola McCartney is joined by the artistic director of The Big House, a London-based charity which empowers young care-experienced people through theatre to fulfil their potential through impactful stage productions. Presenter: Kate Molleson Producer: Mark Crossan

One of the world's most prestigious contemporary art shows, the Venice Biennale, is just days away from its official opening. The opening comes just days after the show's jury resigned prompting a change to the system for awarding the prestigious Golden Lion awards associated with the show. The jury had earlier protested the participation of Israel and Russia saying they wouldn't consider countries with leaders currently charged with crimes against humanity by the International Criminal Court for the awards.

Today's West Coast Cookbook & Speakeasy Podcast for our especially special Daily Special, Smothered Benedict Wednesday is now available on the Spreaker Player!Starting off in the Bistro Cafe, the MAGA VA investigated VA employees who attended vigils for VA employee Alex Pretti.Then, on the rest of the menu, public schools in Florida will now require teaching a history course that calls slavery a ‘necessary evil;' a promotional video for the FBI posted by Kash Patel used AI to generate clips nearly identical to those in the Beastie Boys' iconic 1994 classic music video “Sabotage;” and, a federal judge is referring a Trump administration lawyer to face an investigation into misconduct charges for withholding key information from her about a case.After the break, we move to the Chef's Table where Russian punk group Pussy Riot and Ukrainian feminist organization FEMEN protested at the Venice Biennale against the opening of the Russian pavilion; and, Poland's internal security service said Russia is shifting from individual recruits to ‘professional' sabotage cells across Europe.All that and more, on West Coast Cookbook & Speakeasy with Chef de Cuisine Justice Putnam.Bon Appétit!The Netroots Radio Live PlayerKeep Your Resistance Radio Beaming 24/7/365!“It may be safely averred that good cookery is the best and truest economy, turning to full account every wholesome article of food, and converting into palatable meals what the ignorant either render uneatable or throw away in disdain.” – Eliza Acton ‘Modern Cookery for Private Families' (1845)Become a supporter of this podcast: https://www.spreaker.com/podcast/west-coast-cookbook-speakeasy--2802999/support.

Boats passing, waves lapping along the sides of buildings in the city of canals… and I am sitting outside the Icelandic Pavilion, peeking into the Pocket Universe created by artist Ásta Fanney Sigurðardóttir. For this Biennale Exclusive episode, I speak to Ásta about her work and the exhibition she created for this year's Venice Biennale In Minor Keys, but I also got to speak to Cecilie Ragnheiðardóttir Gaihede, the Director of the Icelandic Art Centre, and the co-curator of Pocket Unviverse, Margrét Áskelsdóttir. I ask them about their roles, what the experience has been like to put together a national pavilion for an international stage, why it's important to participate in the Venice Biennale as a nation, and so much more.- - - - - If you love what we do, support ALL ABOUT ART on PATREON!  ⁠https://www.patreon.com/allaboutart⁠Keep up to date on Instagram @allaboutartpodcast  ⁠https://www.instagram.com/allaboutartpodcast/⁠ ABOUT THE HOST:I am an Austrian-American art historian, curator, and writer. I obtained my BA in History of Art at University College London and my MA in Arts Administration and Cultural Policy at Goldsmiths, University of London. My specializations are in contemporary art and the contemporary art market along with accessibility, engagement, and the demystification of the professional art sector.SOCIALS: Instagram⁠ @alexandrasteinacker https://www.instagram.com/alexandrasteinackerand LinkedIn at ⁠Alexandra Steinacker-Clark⁠ https://www.linkedin.com/in/alexandra-steinacker/COVER ART: Lisa Schrofner a.k.a Liser⁠ ⁠⁠https://www.liser-art.com/ and Luca Laurence https://www.graffitikunst.at/

TODAY on the GWA Podcast: a very special bonus episode with Lubaina Himid, on her British Council Commission for the British Pavilion at Venice Biennale 2026, "Presenting History: Testing Translation". Returning to the podcast for the second time, Lubaina Himid is an acclaimed Lancashire-based artist working in paintings, sculpture, installations, archives, and more, whose career spans from the 1980s – when she was established as one of the leaders and trailblazers of Britain's Black Arts movement – to the 2020s, where she uses her art and her training in theatre to create all-encompassing works that tackle silenced histories. While you can go to episode 33 to hear a deep dive into Himid's life and work, today we are focusing on her pavilion for Great Britain at the 61st Venice Biennale! An event that happens every two years, thought of as the most important space to showcase art and artists, the Venice Biennale revolves around a central exhibition, this year curated by the late Koyo Kouoh, titled "In Minor Keys", and is often a signifier to define not just what is happening in the world, but how we can understand it through art. The rest of the Biennale is made up of pavilions – think of it like the Olympics of art, whereby countries have exhibition spaces, nominating an artist to stage a show to compete for the gold medal equivalent, The Golden Lion. For the British Pavilion this year Himid will showcase large multi-panel paintings drenched in her signature vibrant palette. In conversation with the British Pavilion's neoclassical architecture, the installation will present Britain as welcoming and airy, brimming with potential, albeit with an underlying sense of unease as the texts, images, and soundscape (made in collaboration with artist Magda Stawarska) subtly introduce tension. And I can't wait to find out more. Lubaina Himid's British Council Commission for the British Pavilion at the Venice Biennale will run from the 9th of May to the 22nd of November, 2026, and is curated by Ese Onojeruo.

As Israel ramps up its killing in southern Lebanon despite a ceasefire, we discuss where things could go next. Then: Merz a year on, Romania’s vote of no-confidence and the Venice Biennale. See omnystudio.com/listener for privacy information.

AP correspondent Julie Walker reports the Venice Biennale is in chaos as conflicts in Ukraine and the Middle East affect the art world's oldest exhibition.

This episode starts with some major life updates. Bradshaw shares the story behind his collarbone surgery, and Giana opens up about navigating iron infusions during pregnancy. As usual, one tangent leads to another, and we somehow end up talking about the Venice Biennale, tattoos, being emo, queer allyship, sugar addiction, and what it's like to lose friends far too early in life.Nearly 20 minutes in (classic), we finally settle into the heart of the episode, what to do when your yoga practice stops feeling good. We talk about pregnancy, injury, burnout, plateaus, and losing passion, those seasons when a practice that once felt nourishing starts to feel frustrating, stale, or disconnected.More importantly, we offer ideas for how to navigate it, including nervous system regulation, taking intentional breaks, exploring other movement modalities, finding new teachers, shifting your goals, reconnecting to what first drew you in, and giving yourself permission to let your practice evolve with you. Bradshaw also shares his experience with SI joint dysfunction and how pain reshaped his relationship to movement.We close with a bigger question. Did you love yoga, or did you love the transformation phase, the honeymoon phase of becoming someone new through it? Because even a “good addiction” can become unhealthy, and sometimes the path back is less about pushing harder and more about learning a new way to practice.We also share funny stories about getting the ick before the ick was a thing, and trying to impress doctors with our anatomy knowledge.Want to support our podcast? Join our Patreon for extra content

We report from Salone del Mobile, speak with the founder of ‘Sloft’ magazine and we preview the Venice Biennale.See omnystudio.com/listener for privacy information.

Day 1,527.Today, we take you to Lviv and hear an update from Dom's week in the west of the country – including a visit to a prisoner of war camp and speaking to soldiers who fought for Russia. Then we bring you the latest on strikes by both sides, as Tuapse refinery is hit for the fourth time in a fortnight, before discussing the end of what's being called the biggest military exercise involving European forces since the end of the Cold War.NOTE: Monday is a bank holiday in the UK. Normal service will resume on Tuesday.Contributors:Francis Dearnley (Host on Ukraine: The Latest). @FrancisDearnley on X.Dominic Nicholls (Host on Ukraine: The Latest). @DomNicholls on X.NOW IN FULL VIDEO WITH MAPS & BATTLEFIELD FOOTAGE:Every episode is now available on our YouTube channel shortly after the release of the audio version. You will find it here: https://www.youtube.com/@UkraineTheLatest CONTENT REFERENCED:Russia's Leningrad Oblast 'now a front-line region,' local governor says (Kyiv Independent):https://kyivindependent.com/russias-leningrad-oblast-now-a-frontline-region-local-governor-says-following-recent-ukrainian-attacks/ Venice Biennale jury resigns after row over Russian entry (The Telegraph):https://www.telegraph.co.uk/world-news/2026/04/30/venice-biennale-jury-resigns-row-russian-artists/ EMAIL US:Contact the team on ukrainepod@telegraph.co.uk . We continue to read every message, and seek to respond to as many on air and in our newsletter as possible.HIGHLIGHTS:Exclusive: ‘My face-to-face with Russian prisoners of war' Europe ends largest military drill since the Cold War Hosted on Acast. See acast.com/privacy for more information.

We talk a lot about biennials. Art is in some ways a very local, in-person thing. Yet artists and creators and writers are also part of a global conversation, looking at and thinking about each other across borders, and these big, recurring art festivals can serve as an opportunity or a prompt to think about what that bigger conversation. One of the biggest, the Venice Biennale, is coming up next month. It's centered around a show called “In Minor Keys,” curated by the late curator Koyo Kouoh. My colleague Jo Lawson-Tancred recently had an article looking at the artists in that show, comparing where they were from and how old they were to the last several editions, to see how the art conversation was evolving. Meanwhile, Ben Davis just published a big project this week, looking at the last four years of art biennials around the world, from the big ones in places like Istanbul, Gwangju, São Paulo, Sharjah, and Venice, to smaller or more experimental ones. He gathered all the names of artists to find out who has shown the most around the world since the 2022 Venice Biennale four years ago. Some are familiar names, some were total surprises. With Venice soon to open, Ben speaks with Jo to talk about what we've learned from our different projects about where the global art conversation has been and where it might be headed.

The UAE’s exit from Opec is part of a broader strategic pivot, argues Pat Breen of Gas Strategies. We look at the diplomatic intrigue behind a move that has rattled oil markets. Plus: Kosovo faces another election and a preview of the Venice Biennale.See omnystudio.com/listener for privacy information.

Mo Rocca takes a look at Cuba, how it is faring today and the impact of the Trump administration's policies concerning the island nation. Anthony Mason catches up with country superstar Kacey Musgraves, who opens up about going home after a breakup, the inspiration for her new songs and posing with a bull on her album cover. Elizabeth Palmer visits with British artist Jenny Saville, who has a major retrospective at the 2026 Venice Biennale. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

While packing his bags for Venice, Italy, Adam Trest stops to chat with David Lewis on this week's episode of the Arts Hour. Adam and David catch up on all the many projects Adam has been up to, including a new series of works and the debut of three pieces at the Venice Biennale. They recap the many things that Adam has been up to, from licensing his work for home decor to developing a series based on his father's gardens from his childhood. Hosted on Acast. See acast.com/privacy for more information.

The best of Arena's week with Venice-bound visual artists Alice Maher and Isobel Nolan ... Filmmaker David Gleeson on his nostalgic new feature, Once Upon a Time in A Cinema... And Jenn Gannon reviews Lena Dunham's new memoir Famesick

There's an animate quality to the biomorphic sculptures of the self-taught, Utah-born artist Alma Allen. His works, carved from wood, marble, and bronze—and informed by his deep appreciation for the natural world—appear as if they're living, breathing things, at once prehistoric and futuristic. Far from fixed objects, they eschew any overt symbolism or predetermined narratives. For this “site-specific” episode of Time Sensitive, our milestone 150th, we traveled to Mexico City to sit down with Allen inside his family's home there to discuss his highest-visibility exhibition yet: “Call Me the Breeze,” a solo presentation at the U.S. Pavilion for the 61st edition of the Venice Biennale, opening May 9 and on view through Nov. 22. In addition to his plans for Venice and how he's been navigating the noise and public debate around his selection for this year's U.S. Pavilion, he also delves into the hard-to-pin-down nature of his material-forward sculptures and his peripatetic path to art-world ascendancy.  Special thanks to our Season 13 presenting partner, Van Cleef & Arpels. Show notes:  Alma Allen [20:04] Issey Miyake [20:04] Todd Oldham [20:04] Julio Espada [26:06] "Call Me the Breeze" (2026) [29:00] Mauricio Rocha [29:00] Isamu Noguchi [32:02] The Sound and the Fury [32:02] Thomas Pynchon [32:02] Samuel Beckett [41:03] Clyfford Still [39:10] Pierre Soulages [50:13] Glenn Adamson [53:00] J.J. Cale [55:41] JB Blunk [57:42] Constantin Brâncuși [57:42] Lynda Benglis [57:42] Louise Bourgeois [57:42] Thaddeus Mosley [59:24] Museo Anahuacalli [1:04:38] Alma Allen on Park Avenue (2025)

Lesley Manville, on appearing in Les Liaisons Dangereuses at London's National TheatreArt In Space: As Nasa prepares to send people back to the Moon, former astronauts Helen Sharman and Cady Coleman talk us through the books & music they took with them into space. Do classicists underestimate how difficult it is to read Homer's Odyssey? Ahead of Christopher Nolan's new adaption, we'll discuss with Mary Beard and Professor Emily Wilson about reading and translating one of the oldest surviving works of literature. Should Russia be readmitted to The Venice Biennale? A public letter signed by dozens of MEPs is calling for EU funding to be suspended if Russia is allowed to participatePresenter: Samira Ahmed