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French artist Camille Henrot presents her latest exhibition “Don’t” at the Perimeter in London, shifting from her previous large‑scale, concept‑driven installations to a pared‑back, intimate investigation of everyday digital overload. The Minimalist Turn: “Don’t” Strips Henrot’s Grand Narratives The show is divided into two bodies of work. The painted series layers screenshots, collaged paper and brushstrokes into frantic digital abstractions, while the accompanying drawings depict mythic beasts and overtly erotic figures. By inserting personal artifacts—a photo of her husband, an X‑ray of her wrist, even a bill for IVF‑related oocyte storage—Henrot turns the exhibition into a visual diary rather than a theoretical treatise. Absence of Big Numbers: What the Lack of Commercial Data Reveals Opening date: 2026‑05‑31 (press review) Venue run: until 25 July 2026 No disclosed ticket‑price or attendance figures, underscoring the exhibition’s focus on personal experience over market metrics. Redefining Post‑Internet Intimacy in Contemporary Art Henrot’s shift mirrors a broader trend in post‑internet practice: moving from hyper‑complex installations toward works that foreground the artist’s private life and digital fatigue. The chaotic blend of analogue and digital elements questions what is “real” in a screen‑saturated world, while the erotic drawings expose the raw, often ignored, physicality behind online personas. Future Directions: Anticipating Henrot’s Next Personal Exploration Given the intimate tone of “Don’t,” future projects may delve deeper into domestic technology, perhaps exploring AI‑mediated relationships or the emotional economics of data storage. Critics will watch to see whether Henrot continues to trade grand gestures for the mundane, reshaping how contemporary art narrates the digital age.

The Complete Entertainment LandscapeThis week offers a diverse range of entertainment options across cinema, music, art, and more. Whether you're looking to head out or stay in, there's something for every cultural enthusiast.New Cinema ReleasesBackrooms - Out now: This A24 horror film capitalizes on the internet phenomenon of Backrooms, featuring an infinite empty limbo where characters wander hoping not to encounter Entities. Starring Chiwetel Ejiofor, Renate Reinsve and Mark Duplass.Power Ballad - Out now: A feelgood drama about a wedding singer (Paul Rudd) who befriends a down-on-his-luck boyband star (Nick Jonas), leading to a hit single and subsequent resentment. Directed by John Carney.Tuner - Out now: A piano tuner with heightened hearing who also becomes a world-class safe cracker, leading to chaos. Stars Leo Woodall.Leonora in the Morning Light - Out now: A drama about surrealist painter Leonora Carrington, featuring encounters with Salvador Dalí, André Breton and Max Ernst. Based on the book by Elena Poniatowska.Live Music PerformancesCallum Au Big Band - Kings Place, London, 30 May: Composer-arranger and trombonist Callum Au showcases his mastery of styles from swing to salsa, funk and postbop jazz, launching his new album Sing Seven Seas.Twice - The O2, London, 3 & 4 June: The nine-piece K-pop girlband's world tour in support of their album "This Is For" features their shiny, genre-hopping discography plus solo work.Lany - 2 to 6 June; tour starts Glasgow: The LA soft-rock duo celebrates their discography with lyrically introspective songs like Super Far and Malibu Nights.Handel's Orlando - Longborough Festival Opera, Moreton-in-Marsh, 30 May to 7 June: The festival kicks off with Handel's chivalric tale directed by Sinéad O'Neill, featuring rising stars and the Academy of Ancient Music.Art ExhibitionsCamille Henrot - The Perimeter, London to 25 July: This French artist's exhibition focuses on her drawings, known for being dense, complex, and hyper-conceptual.

The Innovative Surfboard Designs of Lucas Lecacheur French designer and surfer Lucas Lecacheur has been making waves with his unconventional surfboard designs. His creations, which range from a surfboard split in the middle to resemble crab pincers to a board shaped like a stingray, are not only visually striking but also functional. The Inspiration Behind the Designs Lecacheur's experiments in surfboard design grew out of his lifelong passion for performance and surfing. As a rock musician, he was always looking for new sounds and energy, and he sought to bring that same creative spirit to his surfboard designs. The Design Process Lecacheur's boards are made using traditional surfboard materials and techniques, but with a unique twist. He has created boards with webbed bottom contours, like a duck's foot, and even a fire-engine red skateboard shaped like a cartoon flame. The Reaction from the Surfing Community When Lecacheur takes his boards to the beach, they often attract a lot of attention. "It's always an event on the beach," he says. "People are drawn to the unique designs and often ask for his Instagram. The Future of Surfboard Design As Lecacheur continues to push the boundaries of surfboard design, it's clear that his work is having an impact on the surfing community. With his recent residency in Melbourne for design week, Lecacheur is inspiring a new generation of designers and surfers to think outside the box.

A Lebanese‑French visual artist, Ali Cherri, has lodged a formal complaint with the French war‑crimes unit in Paris, accusing Israel of committing a war crime after a 2024 airstrike on his family home in Beirut killed his parents and a domestic worker. The filing marks the first time a French court has taken up a case concerning Israel’s bombing of Lebanon and is an unusual move by an individual to pursue war‑crimes accountability. Israel has faced repeated accusations of violating international humanitarian law in Lebanon and Gaza, including attacks on civilians, medical facilities and forced displacement, yet no Israeli officials have been prosecuted to date. Cherri said, "Our demand is that an investigation is opened so that we know for a fact what happened, to name this attack as a war crime against civilians, and hopefully be able to name the people responsible." The apartment, built by his grandparents in central Beirut, was struck a few hours before a cease‑fire between Hezbollah and Israel took effect on 26 November 2024. The 13‑month conflict had already claimed roughly 4,000 Lebanese lives. The blast, which gave no prior evacuation warning, destroyed three floors, killing Cherri’s 86‑year‑old father Mahmoud Naib Cherri, 76‑year‑old mother Nadira Hayek, their employee Birki Negesa and four other civilians. In February, Amnesty International’s investigation concluded there was no military target at the time of the strike and urged that the incident be examined as a war crime. Forensic Architecture, a UK‑based investigative group that helped draft the complaint, produced a 3‑D reconstruction of the building and identified the munition as a GBU‑39 guided bomb – a 250 lb US‑made weapon frequently used by Israel in Lebanon and Gaza. The analysis underscored the targeted nature of the attack and, according to the group, demonstrated direct responsibility of the Israeli army. Amnesty International’s regional director for the Middle East and North Africa, Heba Morayef, called the French civil complaint “a rare opportunity” to hold Israel accountable in a European court, given the usual impunity. The case arrives amid renewed hostilities: on 2 March Hezbollah fired rockets at Israel, prompting an Israeli aerial campaign and ground invasion that has killed 1,318 people so far. Photographer Mohammed Shehab, who collaborated with Forensic Architecture on the Cherri investigation, was himself killed in an Israeli strike on 11 March, which also claimed his infant daughter’s life and wounded his wife – an incident the group described as “circumstances similar” to the Cherri bombing. While Cherri doubts any Israeli officials will face criminal charges, he insists that filing the suit is a moral duty to give a voice to victims who cannot pursue legal recourse themselves.

The world of unofficial World Cup songs has come a long way since 'Vindaloo' by Fat Les became a surprise hit in 1998. The song, which was co-written by Keith Allen and Guy Pratt, was a quirky tribute to the England team's participation in the tournament. Despite its lack of musical sophistication, 'Vindaloo' captured the hearts of football fans and became a cultural phenomenon.Since then, unofficial World Cup songs have become a staple of the tournament. Some have been created organically by fans, while others have been produced by celebrities and music executives looking to capitalize on the excitement. However, not all of these songs have been well-received. The article cites Will Grigg's song as a notable exception, while also mentioning Freddie Flintoff's cover of Rasputin as a low point.The current trend in unofficial World Cup songs is the use of AI-generated music. One song in particular, 'Imbattables' by French artist Crystalo, has gained millions of streams on YouTube. While it may be catchy, the song has been criticized for not promoting actual French musicians.In contrast, JJ Bull's unofficial anthem for the Scottish team, The Tartan Army, has been praised for its substance and musical quality. The article concludes that while AI-generated songs may be the future of unofficial World Cup music, there is still room for creativity and authenticity in the tradition.