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The Artist's Background and Achievements At 29, Rene Matić is the youngest ever person to win the £30,000 Deutsche Börse Photography Foundation prize. They were nominated for their solo exhibition As Opposed to the Truth at CCA Berlin – there is currently a much smaller reconfiguration representing part of the show at the Photographers' Gallery in London. Matić was also the youngest artist ever to be nominated for the Turner prize last year. Notable Works and Artistic Approach There are things I like about Matić. I like the way they challenge what counts in life and art, and what counts as British. Their 2022 work, Upon This Rock – a photographic installation and a film exploring the artist's father, Paul, and his involvement with the skinhead movement – felt like it was breaking new ground, conceptually and materially. Matić's yearning to understand masculinity and fatherhood as forces shaping national identity, and the way they incorporate new stories into the folds of Britain's historical fabric, felt original and exciting. Prize Recognition and Its Significance The Deutsche Börse Photography Foundation prize is one of the most prestigious awards in contemporary photography, carrying a £30,000 prize. Matić's win at such a young age marks a significant moment in the art world, particularly as they identify as a queer, working-class person of colour. The fact someone from this background won this award is good as a statement for what the Deutsche Börse prize can stand for in terms of diversity and representation. Critical Assessment of Current Exhibition Yet a lot of Matić's other work doesn't feel mature enough for the photographer to have taken the prize so early in their career. The installation Feelings Wheel, a series of diaristic snapshots which is shown at the Photographers' Gallery, feels like something you'd paste on your wall or Tumblr at university. They are pretty mediocre pictures, safe from Instagram censorship, and arranging them in Perspex doesn't make them more interesting. I find there is an annoying insularity, a sense of preaching to the converted, whereas the most effective art builds bridges between artist and viewer, allowing people who aren't part of the gang to understand it and be moved by it, too. Comparisons to Influential Photographers Too often, Matić's images are only made interesting by the different ways they display them in assemblages, spatial and sculptural configurations. Their work draws comparisons with Wolfgang Tillmans or Nan Goldin, who both photographed their own subcultures and communities, but with more edge and verve. With slideshows to music (in the case of Goldin's The Ballad of Sexual Dependency) and multi-format installations responding to the space (Tillmans), both photographers cast aside the traditional focus on a single image, creating new ways of looking at multiple photographs that Matić adapts but doesn't quite move forward. Broader Implications for Contemporary Photography There's nothing wrong with art that focuses on identity – especially identities that have been consistently erased and ignored in this country. But based on what Matić has done for photography, I don't think they should have won. Autobiography can't be the only thing a work has to offer. I am not sure what's really radical or nuanced about Matić's photographs of flags and tattoos, or people kissing at Glastonbury. At times, the vulnerability and compassion seems performative rather than sincere, and there's not enough tension – questions in the work for the viewer to resolve. The Future of Matić's Artistic Development Leaving the exhibition, I felt flat – though there are ideas, they need more time to percolate. What this win seems to tell us about photography now is that how you market yourself is possibly more important than the work you make. Matić clearly has potential, as evidenced by their more conceptual works like Upon This Rock, but the current exhibition suggests they may have been recognized before their artistic voice has fully developed. The challenge for Matić will be to build on the conceptual foundations of their strongest work while developing a more distinctive photographic language that doesn't rely solely on presentation techniques to generate interest.

The LeadEnsemble Modern and HK Gruber's album "Dancing on a Volcano" presents an eclectic snapshot of musical Germany between 1920 and 1933, capturing a creative era that would be suppressed by the Nazi regime. This live recording features works by composers who ultimately fled Germany, their music deemed "too modern, too jazzy, too Jewish" by the rising fascist power.The Musical Landscape of Pre-War GermanyThe album showcases four distinct voices from this turbulent period. Hindemith's Kammermusik No 1, premiered in 1922, was controversially described as having "a lewdness and frivolity only possible for a very special kind of composer." Gruber's performance embraces its neo-classical spikiness and jazz-age energy with almost cartoonish glee.In contrast, Korngold's 1920 music for Shakespeare's Much Ado About Nothing represents Viennese neo-Romanticism, which Gruber leavens with a pinch of acerbic wit. Schoenberg's Accompaniment to a Cinematographic Scene, premiered in 1930 under Klemperer, offers eight minutes of existential angst in Johannes Schöllhorn's lean-textured 1993 chamber version.The Historical Context and Cultural SignificanceThe period represented by this album—1920 to 1933—encompasses the Weimar Republic, a time of extraordinary cultural flourishing in Germany despite economic and political instability. The featured composers represent the diversity of musical expression during this era, from Hindemith's modernism to Korngold's Romanticism to Schoenberg's atonality.What makes this recording particularly significant is how it captures music that would soon be suppressed by the Nazi regime. The album's title itself, "Dancing on a Volcano," evokes the sense of living on the edge of catastrophe that characterized this period.The Legacy of ExileAll four composers featured on this album ultimately left Germany and settled in the United States, forced into exile by the Nazi regime. Their departure represented a profound brain drain for German musical culture, as these composers had been at the forefront of musical innovation.The jewel in the crown of this recording is Gruber and Christian Muthspiel's Kurt Weill Foundation-sanctioned arrangement of The Seven Deadly Sins. Wallis Giunta's performance, more opera diva than Weimar chanteuse, delivers no shortage of bite, while Amarcord's male quartet kvetch and wheedle as her rapacious family. Gruber's razor-sharp yet flexible interpretation drips idiomatic venom.Contemporary Relevance and Musical ResilienceThis album serves as both a historical document and a vibrant musical experience. The works featured demonstrate not only the creativity of this period but also the resilience of art in the face of political oppression. By recording these pieces today, Ensemble Modern and HK Gruber ensure that this important chapter in musical history continues to be heard and appreciated.The recording is available on streaming platforms, making this historically significant music accessible to new audiences who might otherwise never encounter these works. In an era where political polarization once again threatens artistic freedom, this album serves as both a reminder of what was lost and a celebration of what endures.

The Final Plea for Reading as a RightFrank Cottrell-Boyce has urged policymakers to treat children's reading as a "right" rather than a parental duty, warning that Britain is failing to understand the emotional and social value of reading, as new research shows a sharp decline in daily shared reading at home.Speaking at the Royal Institution in his final laureate lecture, The Kids Are Not Alright, the children's laureate linked falling shared reading rates to poverty, housing insecurity and social media.The Laureate's Final Lecture and National Reading Initiative"Our children have been at the sharp end of two great crises: Covid, and just as damagingly, austerity," Cottrell-Boyce said in his lecture. "We can talk all we like about [the importance of] bedtime stories … but what does that mean to a child with no bed? Or no space for a bed?"He said that this "furniture poverty", alongside housing insecurity, means that children are unable to build stable routines around reading. "You're not going to Narnia because you haven't got a wardrobe," he said "Your clothes are stored in bin bags ready for the next move."The UK is celebrating the National Year of Reading, a government-led initiative supported by the National Literacy Trust to combat declining reading-for-pleasure rates. The campaign includes launching the first Children's Booker prize, with a judging panel chaired by Cottrell-Boyce. Three children aged 8-12 will be recruited to help adjudicate. The campaign also involves distributing 72,000 books to children in need, and fostering a "national mission" to make reading a daily habit.Declining Shared Reading StatisticsNew figures from BookTrust, released to coincide with the lecture, show that daily shared reading among families with children aged eight and under has fallen from 60% in 2021 to 49% in 2025. Yet the proportion of children who "like or love reading" has risen from 66% to 80% over the same period, suggesting that enthusiasm for books remains strong.Social and Economic Barriers to ReadingAlongside economic pressures, Cottrell-Boyce told the Guardian about the impact of screens and social media on children's attention. He said concerns about "addictive" tech platforms were now unavoidable, arguing that children's attention is being captured by systems designed to maximise engagement."These kids are working for big tech," he said. "We all are. But you're working for someone who doesn't love you, who is not going to pay you and doesn't care how many hours you work. It's a shocking situation we've got ourselves into."Referring to the growing legal and political scrutiny of technology companies, he added: "These platforms should bear total responsibility. I think these trials are a bit like the big tobacco moment."Reframing Reading's Value and Future OutlookHe added that we have failed to communicate what reading offers beyond literacy outcomes. "Reading has become so bound up with attainment and literacy, that we've failed to get across the emotional benefits, the fact that it is fun and should be done for pleasure," he said.Despite the scale of the challenges, Cottrell-Boyce said he remains optimistic about children's reading habits and the work already being done in communities. "Pessimism is a luxury that we can't afford," he said. "I do feel optimistic. I've met amazing people and seen amazing practice that costs next to nothing."Cottrell-Boyce has used his two-year tenure as children's laureate to promote his Reading Rights campaign, which argues that shared reading should be embedded in early years support, from health visitors to family hubs. The new children's laureate will be announced in July.

The Controversial Bet on AI BookkeepingDespite the collapse of his previous startup, Ian Crosby is taking another shot at building a business out of automating bookkeeping. His new venture, Synthetic, aims to create a fully autonomous AI bookkeeper that can generate accrual-based financials without direct human involvement.The Vision Behind SyntheticSynthetic is designed to revolutionize bookkeeping by eliminating the need for human accountants, a stark contrast to current accounting startups like Xero. Crosby maintains an all-or-nothing approach: "We're not going to release anything that's not fully autonomous. It's that or bust."The startup is currently in the design phase, with Crosby acknowledging that his vision may not yet be technologically possible. The company plans to initially serve only AI and other software startups.The $10 Million InvestmentDespite the challenges and Crosby's troubled past with Bench Accounting, Synthetic has successfully raised $10 million in a Seed funding round led by Khosla Ventures. The round also saw participation from Basis Set Ventures and Shopify CEO Tobias Lütke.This financial backing provides Crosby with the resources to wait for foundational AI models to become more reliable for bookkeeping calculations. "I've raised years of cash, so we can just wait it out," Crosby stated.Learning from Past FailuresKhosla partner Jon Chu defended the investment by explaining his tendency to "run towards controversy a little bit." He cited Parker Conrad's journey from Zenefits to founding Rippling (now valued at $17 billion) as an example of how industry narratives can be misleading.Chu conducted thorough due diligence, speaking with several executives who worked with Crosby after his departure from Bench. According to Chu, they "had fantastic things to say about Ian." This feedback, combined with Crosby's subsequent roles at Shopify and founding of Teal (which was acquired by Mercury), convinced Khosla of his growth potential.The Bench Accounting FalloutCrosby's previous venture, Bench Accounting, famously shut down in 2024 before being "bought for scraps." Crosby maintains he wasn't directly responsible for bringing the company to insolvency, stating he was fired by Bench's board in 2021 after turning down a $250 million acquisition offer from Brex.The board reportedly disagreed with Crosby's strategic direction as the business was bleeding cash, and his executive team was frustrated with his direct leadership style. "He took a big swing, made a few mistakes. That didn't go well," Chu acknowledged about Crosby's tenure at Bench.The Path to Autonomous AI BookkeepingWhile Synthetic's prototype works for a narrow group of users, Crosby remains uncertain how it will scale for a broader customer base. He compared the current state of AI bookkeeping to "a self-driving car that can drive down one street versus the self-driving car that can drive down any street.""We haven't driven down enough streets to know if it's going to crash," Crosby explained, highlighting the technical challenges ahead. Despite these obstacles, the founder remains committed to his vision of a fully automated financial future.

The Candid Champion's Career TransformationThere are few experiences on the professional tennis circuit more uncomfortable than being Alexander Bublik's opponent. The task of deciphering one of the more talented and unpredictable players is challenging enough, but there is also a risk of being on the receiving end of a few stinging insults. Over the years, Bublik has become notorious among Russian-speaking fans for his scathing rants about his rivals, while reserving plenty of scorn for himself and the sport as a whole.From Underachiever to Top Ten: Bublik's Remarkable RiseThis past year has marked a significant transformation for the Russian-born Kazakhstani player. Just twelve months ago, Bublik had fallen out of the top 80 and his dire form forced him to drop back down to the ATP Challenger circuit—a desperate low for someone already considered an underachiever. However, his enviable talent has propelled a rapid turnaround: Bublik ended the clay-court season by defeating Alex de Minaur and Jack Draper (ranked No 9 and No 5), en route to his first grand slam quarter-final at the French Open. He then toppled the world No 1 Jannik Sinner on his way to winning the ATP 500 title in Halle.The Financial Reality of Professional TennisWhile most millionaire players are hesitant to speak about their earnings, money is another subject that Bublik often speaks freely on. "I think you realise that quickly once you start making your first money playing tennis that it's a big business," he says. "It's nice to win trophies, it's nice to be playing in a beautiful arena, it's all nice but at the end of the day you got to pay yourself and I think that was the very first motivation that I had when I became a professional tennis player." This pragmatic approach to tennis as a business has been central to his career strategy, even during his less committed years.The Changing Landscape of Tennis AuthenticityBublik's outspoken nature has sparked debate about authenticity in professional sports. "I think emotions are emotions," Bublik explains. "I guess it's just we live in a world where everyone tries to fake and I think there's nothing wrong in just releasing your emotions in a way because it's a stressful sport." His perspective extends to social media as well: "I guess the entire social media is fake, so I guess all the people who are there pretending to be someone they're not. I guess it's fake." This stance positions Bublik as a counterpoint to the carefully curated public personas common in modern sports.Maintaining Momentum: The Challenges AheadReaching the top 10 is impressive, but as Bublik's recent defeat at the Italian Open demonstrates, it is far tougher to maintain that status week in, week out. The top players have targets on their backs and it is far easier to swing freely with nothing to lose. Bublik will have a significant amount of points to defend over the coming months, starting with his return to Roland Garros one year on from the most beautiful moment of his career. His handling of these new experiences will say plenty about whether his transformation is complete or merely a remarkable career resurgence.

The Legal Victory Against Political SanctionsA federal judge has temporarily blocked United States sanctions against Francesca Albanese, a United Nations expert on the occupied Palestinian territory. UN Human Rights Council Special Rapporteur Francesca Albanese was originally sanctioned in July 2025 after she publicly criticized Washington's policy on Israel's war against Palestinians in Gaza.Albanese's husband and daughter filed a lawsuit in February against the Trump administration over the sanctions, arguing that they were an effort to punish her for bringing attention to Israel's rights abuses against Palestinians. In his court order on Wednesday, US District Judge Richard Leon granted a preliminary injunction against the sanctions.Judge's Reasoning: Protecting Free SpeechJudge Leon found that the Trump administration sought to regulate Albanese's speech because of the "idea or message expressed." In his memorandum opinion, he wrote: "Albanese has done nothing more than speak. It is undisputed that her recommendations have no binding effect on the ICC's actions – they are nothing more than her opinion."The sanctions had barred the Italian lawyer and human rights expert from entering the US, using US banks and payment systems, and prevented anyone else in the US from doing business with her. Albanese's family claimed in the lawsuit that the sanctions were "effectively debanking her and making it nearly impossible to meet the needs of her daily life."Background on the SanctionsSince 2022, Albanese, a legal scholar, has served as the special rapporteur for the West Bank and Gaza, where she monitors human rights abuses against Palestinians. The UN Human Rights Council selected her for this position.The Trump administration sanctioned her last July, calling her "unfit" for her role and accusing her of "biased and malicious activities" against the US and its ally, Israel. Albanese had also recommended that the International Criminal Court (ICC) pursue war crimes prosecutions against Israeli and US nationals.International Reactions and SignificanceAlbanese, who said the US sanctions were "calculated to weaken my mission" when they were first imposed, celebrated the ruling on social media. "Thanks to my daughter and my husband for stepping up to defend me, and everyone who has helped so far," Albanese said in a statement on X. "Together we are One."The ruling represents a significant check on the administration's ability to use financial sanctions against international officials who express critical viewpoints. It establishes that such sanctions cannot be used as a tool to suppress speech that critical of US foreign policy, particularly regarding the Israeli-Palestinian conflict.What Happens NextThe preliminary injunction is temporary, and the Trump administration is likely to appeal the decision. The case will proceed through the legal system, with arguments focusing on the balance between national security interests and free speech protections for international officials.Meanwhile, Albanese can continue her work as UN rapporteur without the immediate threat of US sanctions. Her case has drawn international attention to the use of sanctions against human rights advocates and may influence how similar cases are handled in the future.

The Controversy Surrounding Turner's Portrait In 2020, Tate Britain hosted the launch of a new £20 banknote bearing representations of The Fighting Temeraire by JMW Turner and the artist's most famous self-portrait. However, a leading expert, Dr. James Hamilton, has now claimed that the latter work, part of the Tate collection, is not by Turner at all. The Expert's Investigation Hamilton, who has published books on Turner and staged exhibitions at museums and galleries nationwide, said that while the painting does depict the English Romantic painter, it is likely to be the work of his contemporary, John Opie. Hamilton told the Guardian he started researching the portrait because “there’s nothing else like it in Turner’s work”. The Attribution Debate Hamilton believes the portrait was misattributed after being included among nearly 300 oil paintings and 30,000 sketches and watercolours in the Turner Bequest following the artist’s death in 1851. He concluded that stylistic evidence points to Opie, who depicted his sitters in a similar “light emerging dramatically from dark”. The Impact on Turner's Legacy The painting, dated c1799 when Turner was 24, was created by a master portrait painter with “brilliant dexterity”, Hamilton added. If Hamilton's claims are correct, it could have significant implications for Turner's legacy and the art world's understanding of his work. The Future of the Portrait's Attribution A Tate spokesperson said: “As the home of the Turner Bequest, we always welcome new ideas about Turner’s life and new interpretations of his work. We look forward to exploring James Hamilton’s research further.”

The LeadIran's national football team, Team Melli, was given a grand sendoff by thousands of fans in Tehran's Enqelab Square as they prepare to travel to the United States for the 2026 FIFA World Cup. The celebration comes amid significant political concerns about whether the Iranian delegation will be able to enter the US due to tensions between the two nations and the IRGC's designation as a terrorist entity.The Public CelebrationThe departure rally witnessed an enthusiastic crowd cheering for the players as they made patriotic statements from a stage on May 13, 2026. The event marked the unveiling of Iran's new World Cup 2026 kit. Mehdi Taj, president of the Football Federation Islamic Republic of Iran (FFIRI), described it as "the best sendoff in the last four World Cup campaigns.""The players are with the people, and the crowd stands with the country's dignity, honour, and strength. Whatever the result, may Iran's flag be raised there and defended," Taj told state TV, emphasizing the national significance of the team's participation.The Political HurdlesIran's participation in the World Cup has been in question since the US and Israel attacked Iran, starting a regional war on February 28. The concerns were further amplified when an FFIRI delegation, led by Taj, was turned back at Toronto's main airport, citing "unacceptable behaviour of immigration officials" despite holding valid visas.In 2024, Canada listed Iran's Islamic Revolutionary Guard Corps as a terrorist organisation, and statements from the Canadian government indicated that Taj was denied entry due to his alleged ties with the IRGC. Similar concerns exist for the US, where the IRGC is also classified as a "terrorist entity," and Secretary of State Marco Rubio has stated that no one with ties to the organisation would be admitted to the country.The World Cup PreparationDespite the political uncertainties, Iran is proceeding with its World Cup preparations. Following the sendoff event, the team will travel to Turkiye to continue training at a camp. Iran has scheduled a World Cup warm-up match against The Gambia in Antalya on May 29, with the FFIRI in the process of arranging another friendly during their time in Turkiye.Iran is scheduled to be based in Tucson, Arizona during the World Cup and will face New Zealand, Belgium, and Egypt in Group G. The Iranians will open their World Cup campaign against New Zealand in Los Angeles on June 15.The FIFA InterventionIran has placed responsibility for getting the players and team officials into the US firmly in the hands of FIFA. "Nothing has arrived yet regarding the visas. We hope it will definitely be handled within this timeframe," Hedayat Mombeini, FFIRI secretary-general, told state TV at the rally."FIFA has made promises, and hopefully those promises will lead to results, and the players will receive their visas on time," Mombeini added, highlighting the football governing body's role in navigating the diplomatic challenges. FIFA has insisted for weeks that Iran will take part in the tournament, positioning itself as a diplomatic mediator in the situation.

The Lead: Carla Simón's Unique Approach to Family DramaFamily reunions in European arthouse cinema are almost always unhappy events, on a scale of strife that ranges from simmering resentment to spectacular score-settling. Carla Simón, however, has a rare gift: she makes you leave the cinema with renewed faith that having relatives and keeping in touch with them may actually be a wonderful thing.No film-maker working in Europe now is as capable of turning birthday gatherings, garden parties or poolside barbecues into thrillingly sprawling canvases of human virtue and vice as this 39-year-old rising star. From a riotous water fight in the Berlinale Golden Bear-winning farming drama Alcarràs to a foul-mouthed dinner table singalong in her new film Romería, Simón directs kinship meetings with the attention to detail that other film-makers may invest in action sequences or dance routines.The Event Details: Romería and the Journey to Self-DiscoveryAmong the tricks Simón employs, she explains, is to ensure her actors only read the script once before the camera starts rolling, so they have to improvise to fill the gaps. She takes her casts to parties, for walks and on shopping trips, and if there are disagreements on the way, so much the better. The ultimate secret sauce, though, is to ignore WC Fields's notorious advice and always work with children and animals."I never get bored of working with kids," she says. "When you are only working with adult actors, shooting becomes more like executing an idea that you have in your mind, and I think that is not interesting. With children, you always have this feeling that that things are going to happen in front of the camera by chance. It keeps things alive."Her new film Romería, meaning "pilgrimage" in Spanish, dives deeper into the story of the biological parents she barely got to know. Eighteen-year-old Marina travels to her relatives in Vigo, in north-western Galicia, purportedly to find the death certificate of her biological father, which she needs to study film-making in Barcelona. The initial reaction is warm, but family is a room with dark corners and locked closets.The Personal Journey: Aids, Loss and Family SecretsSimón's fascination with freewheeling scenes of family life was undoubtedly honed through her own biography. Born in Barcelona in 1986, her father died when she was three and her mother when she was six. Both of them succumbed to Aids. She was 12 when her adoptive mother told her that her parents had been infected with the autoimmune disease through their use of drugs.All of her first three films have been strongly autobiographical: Summer 1993 tells the story of a six-year-old girl who moves to an unspecified location countryside to live with her aunt after the death of her mother, while 2022's Alcarràs is specifically set in the Catalan peach-growing community of her adoptive family.In the film, a cache of letters written by her late mother opens up a portal to the time when her parents met and discovered love – for each other, the Atlantic Ocean and drugs. The letters, Simón explains, are real. "She wrote to her friends and family while she lived in Vigo. Her Catalan is full of mistakes, because teaching Catalan was banned under the Franco regime. But they are the most important thing that I have from my mother, because suddenly I can hear her talking."The Impact Analysis: Spanish Cinema and the Legacy of AidsSpanish cinema has a track record in making films where child actors take centre stage: Ana Torrent's spell-binding turn as a young girl obsessed with the Frankenstein tale in Víctor Erice's 1973 film The Spirit of the Beehive is considered an all-time great performance by a minor, and Simón describes it as "a very, very important film for me".During the transition period after Franco's rule, Madrid gave birth to la movida, a countercultural movement that celebrated lifestyles that had been banned under military rule. "All these kids who were raised under Franco and religious oppression, suddenly freedom arrived and they embraced it", Simón says. "They didn't think much about the future or the consequences of what they were experimenting with. And then the drugs came in."When we talk about this generation in Spain, people sometimes use words like shame and blame, but I feel that's really unfair: people like my parents just had bad luck.The Future Direction: Beyond Family in Simón's Next ProjectHalfway through Romería there is a stylistic shift, from the Eurorealism she favoured in her previous works toward something more magical-realist: there is a mysterious cat you might expect to encounter in a Miyazaki film, and an unforgettable dance number set to Vigo punk rocker's Siniestro Total's song Bailaré Sobre Tu Tumba ("I'll Dance on Your Grave")."These three films I've made are kind of a cycle, because they all talk about my family, adoptive and biological. But since I became a mother a few years ago, I feel that my place in the family changed. When you have kids you feel it's a new period in your life, so I feel like maybe doing something that has nothing to do with my family."Her next film, she confides, is going to be a flamenco musical.