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The Revival of a Maligned Masterpiece When Steve Hanley joined Manchester post-punk group the Fall, he expected to be playing bass guitar, not the pope on the London stage. But as a cast member of Mark E Smith's 1986 play 'Hey! Luciani: The Life and Codex of John Paul I', Hanley donned a full pope suit with seven layers of cassocks and took center stage. The Turbulent History of 'Hey! Luciani' In December 1986, 'Hey! Luciani' ran for two weeks at Hammersmith's Riverside Studios. Smith, the Fall's iconoclastic vocalist and lyricist who died in 2018, described it as 'a cross between Shakespeare and The Prisoner'. However, critics were less than impressed, with the Guardian deriding it as a 'thoroughness of Smith's failure'. The Data Behind the Reboot The original play was written on beer mats and delivered to Riverside in a shoe box. The play's thesis was allegedly based on David Yallop's 1984 bestseller 'In God's Name', which alleged Pope John Paul I's assassination. The 1986 production featured non-professional actors, including performance artist Leigh Bowery. The Impact of 'Hey! Luciani' on the Art World 'Hey! Luciani' is a classic example of postmodern storytelling, with convoluted narratives and the erasure of differences between high and low art. Graham Duff, the director of the reboot, believes that the play's cryptic nature is intentional, highlighting the Vatican's bureaucracy and the power struggles within. The Future of 'Hey! Luciani' If the June performance is successful, Duff hopes that his version might get picked up by one of Manchester's bigger arts institutions. For Hanley, the bassist who played the pope in the original production, the evening's success will be measured by his ability to avoid getting arrested.

Visual Overview of the Upstate Photography Biennial The Guardian presents a curated selection of photographs from the biennial, highlighting the exhibition’s core motifs of lesbian rebellion, exotic performance, and everyday domestic scenes. Key Themes Captured in the Gallery Lesbian rebels – images that explore queer resistance and identity. Exotic dancing – vibrant portrayals of movement and performance art. Domesticity – intimate snapshots of home life and personal spaces. Context Within New York’s Art Scene The biennial continues New York’s tradition of spotlighting emerging photographic talent, drawing visitors from across the region and beyond.

Kim Noble confessed to the Guardian that his first attempt at promoting his long‑awaited graphic novel involved asking publishers if he could hire a digger, dig a massive hole in a roundabout and bury the books there. The proposal was rejected, but it underscores the lengths he’s willing to go to get his work into readers’ hands. Kim Noble’s Unconventional Pitch to Bury a Book Under a Roundabout During a coffee interview, Noble explained that he had even suggested leaving drafts of his work in public toilets so publishers would have to hunt them down. When a previous Icelandic curator vanished after promising a book project, Noble’s frustration grew, leading to the roundabout idea – a stark contrast to traditional marketing tactics. Publication Details: Date, Publisher and Price Title: In Pursuit of a Wonderful Nothing Publisher: Cheerio Publishing Release date: 28 May 2026 Price: £15 Why Noble’s Stunt Highlights the Struggles of Indie Artists The interview reveals a broader tension between avant‑garde performance art and the commercial realities of publishing. Noble, known for transgressive stage shows such as 2022’s Lullaby for Scavengers, notes that theatres are increasingly wary of risky work, and publishers push for conventional back‑cover biographies that clash with his aesthetic. His desire to create a tangible object “even if it’s shit, it’s there” reflects a yearning for permanence in a career built on fleeting live performances. What Might Come Next for Noble’s Literary Debut Despite his self‑confessed lack of confidence in writing a “proper” book, Noble is “absolutely loving” the focus on drawing and text. He hints at a live component to the launch and continues caring for his ailing mother, suggesting future projects may blend personal caregiving narratives with his characteristic dark humor. Observers will watch whether his unconventional reputation can translate into sustained sales and further publishing opportunities.

The Lead The Museum of Homelessness in London is hosting an exhibition titled 'Criminal: An Untold Story of Homelessness, Resistance and Survival', which explores the criminalization of homeless people and nomadic communities over the last 400 years. The Exhibition's Powerful Message The exhibition features an installation by Romany Gypsy poet, performance artist, and journalist Gemma Lees, which includes a trim caravan with china decorated with Sun newspaper headlines criticizing Gypsy and Traveller encampments. The installation highlights the stark contrast between the cozy interior of the caravan and the harsh realities faced by nomadic communities. The History of Criminalization The exhibition takes visitors on a chronological journey through the history of criminalization, from the Egyptians Act of 1530 to the 2022 Police, Crime, Sentencing and Courts Act. It showcases how laws have been used to marginalize and criminalize homeless people and nomadic communities. The Impact on Homelessness London is currently facing a record high level of homelessness, with over 13,000 people sleeping rough in 2024-2025, a 10% increase from the previous year and a 63% rise over the past decade. The exhibition aims to raise awareness about the issue and provide a platform for discussion. The Future of Homelessness Support The Museum of Homelessness not only serves as a museum but also provides community support and acts as a cold weather shelter in winter. The exhibition 'Criminal' is a timely and powerful reminder of the need for better solutions to address homelessness and the criminalization of vulnerable communities.

The Lead: Melbourne’s Vinyl Boom Takes Center StageMelbourne has been dubbed the "vinyl capital of the world" after a Victorian Music Development Office report highlighted the city’s 5.9 record stores per 100,000 residents. The claim fuels a vibrant local scene showcased at ACMI’s The Vinyl Factory: Reverb exhibition, where audiophiles can experience rare records and immersive installations. The Exhibition Spotlight: Listening Rooms and Interactive InstallationsThe exhibition’s Listening Room features a Technics SL‑1300GE‑K turntable, Pitt & Giblin Superwax speakers and a curated selection ranging from Miles Davis to Ryuichi Sakamoto. Curator Yasmine Sharaf invites visitors to pick any record and have it played, emphasizing accessibility over performance art. Documentary linking Detroit techno to the transatlantic slave trade.Carsten Nicolai’s 1998 work bausatz noto, allowing live remixing on four turntables. The Vinyl Store Density Debate: Melbourne vs. TokyoThe per‑capita metric contrasts sharply with Tokyo’s 2.3 stores per 100,000 residents, yet Tokyo’s dense urban fabric means shoppers can access massive inventories, such as Shinjuku’s Disk Union flagship, effectively eight hyper‑specific stores in one. Melbourne’s “Collingwood‑Fitzroy corridor” hosts 19 stores within 2.5 km², many stocking Japanese imports. The Market Numbers: Growing Spend on VinylAustralian consumers spent $44.5 million on vinyl in 2024, a 5.6% increase from the previous year, with vinyl accounting for 72.8% of physical‑media revenue. Independent labels like Butter Sessions and Efficient Space rely on vinyl releases to supplement modest streaming income. The Cultural Value of Vinyl: Beyond ProfitArtists view vinyl as a cultural badge rather than pure advertisement. Corey Kikos of Sleep D describes vinyl as a “loss leader” that bestows relevance, while local fairs such as the Independent Music Exchange on 7 June at Northcote Town Hall bring together over 50 independent labels. The Outlook: Can Melbourne Sustain Its Vinyl Crown?Melbourne’s claim rests on per‑capita store counts, but true dominance may depend on inventory depth, consumer spending trends, and the ability of independent labels to navigate rising production costs. Continued community events and inclusive curation could cement the city’s reputation, even as global comparisons evolve.

The Lead Emily Wilson, renowned for her acclaimed translations of Homer's Odyssey and Iliad, presents a new collection of essays exploring the art and challenges of translation. Her work has become the standard English-language versions of these classics, praised for their conciseness and fluency. The Translation Philosophy Wilson's approach to translation occupies a middle ground between the "familiarisers" who prioritize accessibility and the "foreignisers" who emphasize preserving the strangeness of the original. She believes the tensions and complexities of the original should always remain legible, while also creating a reader-friendly experience. This balance is evident in her choice to use iambic pentameter for the Odyssey, honoring Homer's dactylic hexameters without being slavishly literal. Classical Insights The book delves into how the ancient world intersects with the modern, examining continuities in war, cruelty, and political turmoil while also highlighting important contrasts. Wilson critiques those who view antiquity as merely "a mirror in which we always find ourselves," arguing for a more nuanced understanding. Her analysis extends from classical authors like Aeschylus and Aristophanes to modern figures like Spike Lee and Boris Johnson, demonstrating the timeless relevance of these texts. Translating Sappho Wilson addresses the unique challenges of translating Sappho, whose work survives only in fragments. She compares it to "trying to get a sense of a whole Tyrannosaurus rex from one claw." While mostly admiring Anne Carson's version as "performance art on the page," Wilson finds it disembodied and stripped of same-sex desire. She challenges feminist readings that position male poets as metaphorically raping Sappho while female poets sing with her, instead emphasizing how Sappho's work "emphasise the isolation of the individual." Critiquing Other Translators Wilson doesn't shy away from criticism, applying tough-minded standards to fellow translators. She dismisses Robert Browning's version of Agamemnon as "arguably more difficult to understand than the Greek" and accuses Edith Hamilton of racism for "remaking ancient Greece in the image of an idealized United States." Even respected translators like Peter Green are found to be "oddly stiff" at times. She reserves particular scorn for "armchair classicists" who engage in snobbish gatekeeping, positioning herself as an accessible champion of the classics. The Sirens' Seduction One fascinating section explores Wilson's approach to translating the Sirens' scene in the Odyssey. She challenges the modern perception of Sirens as sexual temptresses, noting that Homer's Sirens are "cognitively tempting" bird-women whose seduction promises knowledge, not sex. Rather than referring to their "lips" as many translators do, Wilson uses "mouths," emphasizing their dangerous nature over any sexual appeal. Choosing "Complicated" Wilson details her decision to translate Homer's description of Odysseus as "polytropos" as "complicated," acknowledging it might sound stark but defending it as capturing the character's complexity. She admits nearly dropping the term after encountering "He's a complicated man" in Isaac Hayes's Shaft theme song but ultimately embraced it, dedicating ten pages to explaining her choice. The Future of Translation In a manifesto-like afterword, Wilson offers 20 rules for translators, emphasizing the importance of recreating the emotional impact of the original text. "If the original makes you laugh, cry, feel excited, get goosebumps, feel puzzled, get bored, be charmed," she advises, "then the translation should try to create those effects." She encourages experimentation and persistence, noting that there's always another way to say things and that future generations will undoubtedly develop new approaches to translation.

Lead: Valie Export’s Death Marks End of a Pioneering EraThe Austrian performance artist and filmmaker Valie Export passed away in Vienna on May 15, 2026, just three days shy of her 86th birthday. Her death closes a chapter on a career that consistently challenged the male gaze and redefined feminist expression in contemporary art.Groundbreaking Performances that Redefined the Male GazeExport’s early work shocked and fascinated audiences. In 1968 she staged "Tap and Touch Cinema", strapping a miniature theatre stage to her chest and inviting passers‑by to touch her bare breasts through a curtain, while a megaphone‑wielding colleague timed each action. The 1980 Venice Biennale centerpiece "Birth Bed" featured an oversized female abdomen, neon lights emanating from a vulva, and a TV broadcasting a Catholic mass, confronting patriarchal power structures head‑on.Key Milestones and Numbers in Export’s Career1940: Born Waltraud Lehner in Linz, Austria.1967: Adopted the name Valie Export (nickname + cigarette brand).1968: Co‑founded the Austrian Filmmakers Cooperative.1970: Faced pornography charges; custody of her daughter briefly withdrawn.1977 & 2007: Exhibited at Kassel’s documenta.1980: First female artist (with Maria Lassnig) to fill the Austrian pavilion at the Venice Biennale.1985: Feature film The Practice of Love nominated for the Golden Bear at Berlin.1995‑2005: Professor of multimedia and performance at the Academy of Media Arts, Cologne.2015: Linz opened the Valie Export Centre for Media and Performance Art.Impact on Feminist Art and Contemporary CultureCritics and curators, including gallerist Thaddaeus Ropac, describe Export as “one of the most visionary feminist artists” of post‑war Europe. Her interventions exposed the objectification of the female body, influencing artists such as Marina Abramović, who re‑enacted Export’s “Genital Panic” in 2005 at the Guggenheim. Museums worldwide now feature her work as a cornerstone of feminist art history.Looking Ahead: Preservation and Influence of Export’s WorkWith the establishment of the Linz centre and ongoing retrospectives, Export’s oeuvre is set to remain a reference point for future generations. Scholars anticipate new scholarly editions of her performances, while digital archives aim to make her interventions accessible to a global audience, ensuring that her challenge to patriarchal structures endures beyond her lifetime.

The Lead: Art Pushing Boundaries in VeniceThe 2026 Venice Biennale has once again proven to be a platform where contemporary art challenges conventions and expectations. This year's edition has particularly stood out for its unconventional installations and performances, with several pieces capturing global attention through their audacious nature and public interaction.The Event Details: Unconventional Art Takes to the Water and SkyAmong the most talked-about installations at this year's Biennale is a performance art piece featuring naked jetskiers navigating the Venetian canals, creating a striking juxtaposition between human form and historic waterways. Another notable work includes a series of giant bells that produce resonant tones throughout the city, creating an immersive auditory experience for visitors and locals alike.Perhaps the most unexpected sensation of this year's Biennale has been a seagull that has become something of a celebrity, regularly appearing at exhibitions and even participating in what appears to be curated interactions with artists and visitors. The bird has been photographed numerous times and has its own social media following, becoming an unintentional but beloved part of the exhibition.The jetski performance art piece has drawn both acclaim and controversyThe giant bell installation spans multiple locations across VeniceThe celebrity seagull has become an unofficial mascot of the BiennaleThe Impact Analysis: Redefining Contemporary ArtThe unconventional nature of this year's Venice Biennale reflects a broader shift in contemporary art toward immersive, participatory, and even unpredictable experiences. These boundary-pushing works challenge traditional notions of what constitutes art and how it should be experienced. The public's enthusiastic response to these pieces suggests a growing appetite for art that breaks free from gallery spaces and engages with everyday environments in unexpected ways.Venice, as a city with its own unique relationship to water and maritime culture, provides an ideal backdrop for these unconventional art forms. The integration of these works into the city's fabric creates a dialogue between art and environment that is particularly potent in this historic setting.The Prediction: The Future of Immersive Art ExperiencesGiven the success and attention garnered by this year's unconventional installations, we can expect future iterations of the Venice Biennale to continue exploring the intersection of art, public space, and everyday life. The trend toward more participatory and unpredictable art experiences is likely to grow, with artists increasingly seeking to blur the boundaries between artwork and audience, art and environment.The celebrity seagull phenomenon, while likely unintentional, may inspire more artists to incorporate elements of chance and serendipity into their work. This could lead to a new appreciation for art that evolves organically and responds to its environment in real-time, rather than remaining static throughout the exhibition period.

The Lead English National Opera (ENO) is making its debut in Manchester with 'Angel's Bone', a Pulitzer Prize-winning opera by Du Yun and Royce Vavrek. The production, directed by Kip Williams, explores themes of human trafficking and exploitation. Behind the Scenes at Aviva Studios The opera is being staged at Manchester's Aviva Studios, a cutting-edge arts venue that has hosted major pop acts and performance artists. The Warehouse, part of Aviva Studios, provides a unique setting for the opera, with its vast space and hi-tech capabilities. The Creative Vision Director Kip Williams was drawn to the opera's bold and innovative score, which blends different genres, from Gregorian chant to electronic music. The production will feature a strong architectural element and an expansive video component. The Impact of 'Angel's Bone' The opera's themes of human trafficking and exploitation are particularly relevant in today's world. The production aims to raise awareness about these issues and encourage audiences to reflect on their own moral responsibilities. A New Era for ENO The Manchester debut marks a significant moment for ENO, which has been working to revitalize its image and reach new audiences. The company's decision to stage 'Angel's Bone' in Manchester demonstrates its commitment to innovation and risk-taking.