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The Portrait That Merges Masculine Power and Feminine VulnerabilityThe Guardian features Marisol Mendez’s striking photograph of Marta Salinas, a Bolivian theatre actor, standing nude in a bull costume. The work confronts traditional Bolivian representations of women by foregrounding masculine traits—ambition, competitiveness, and the symbolism of the bull—while celebrating bodily autonomy.The Creation of the Bull‑Costume PhotographConceived in 2019, the image emerged from Mendez’s dream of a half‑woman, half‑animal figure in a field. Drawing on the waka tokori dance, which reenacts Bolivian bullfighting where men only taunt the bull, she used the bull as a symbol of masculinity. The setting—a fruit‑and‑bee farm outside Cochabamba—was suggested by Mendez’s mother, who acted as chauffeur and logistical support.Photographer: Marisol Mendez (Bolivia)Subject: Marta Salinas, theatre actor (Bolivia/Argentina)Series: Madre – a study of womanhood and archetypesPrize: 2026 Saltzman‑Leibovitz prize winnerExhibition: Photo London, Olympia, until 17 May 2026Cultural Resonance of Gender Fluidity in Bolivian ArtThe photograph challenges the media’s habit of portraying Bolivian women in strictly feminine roles. By presenting a nude figure who embraces masculine energy, Mendez questions the automatic labeling of such women as “lesbian” and pushes for nuance in gender representation. The work also references the influence of US photographer Ryan McGinley, whose non‑sexualized nudes inspired Mendez’s approach.What Lies Ahead for Mendez and the Madre SeriesWith the Saltzman‑Leibovitz prize spotlighting her practice, Mendez is poised to expand the Madre series internationally. Upcoming shows, such as the Photo London exhibition, will introduce broader audiences to her interrogation of archetypes like the Virgin Mary versus Mary Magdalene. Critics anticipate that her blend of personal narrative, cultural critique, and bold visual language will continue to shape contemporary discourse on gender and identity in Latin American photography.

The Evening's TV LandscapeTelevision tonight offers a diverse lineup headlined by Richard Gadd's highly anticipated follow-up to 'Baby Reindeer', with other notable programs including cooking competitions, design shows, and sporting events. The Guardian's TV critics provide insights into what makes each program worth watching.The Gadd Effect: 'Half Man' Arrives on BBC OneRichard Gadd's 'Half Man' makes its regular television debut on BBC One at 10.40pm, following its initial release on iPlayer last week. The show features Mitchell Robertson and Stuart Campbell as 1980s schoolboys Niall and Ruben, with Jamie Bell and Gadd themselves portraying their adult counterparts as they form a toxic lifelong bond. Critics praise the performances of both lead actors in what promises to be another psychologically complex drama from the creator of 'Baby Reindeer'.The Reality TV Spectrum: From Design to DatingBBC One offers two contrasting reality programs at 8pm and 9pm. 'Interior Design Masters With Alan Carr' challenges contestants to create romantic love nests in a medieval castle in Cheshire, with guest judge Linda Boronkay providing her 'classy taste' as arbiter. Later, 'MasterChef' continues its heats with an eager new batch of contestants, including Yuvi's confident duck dishes and Tony's sixfold pork preparations. The apron cook-off featuring fishfinger sandwiches provides 'glorious carnage', while judge Grace Dent offers her signature lyricism, describing a solitary boiled egg as a 'visiting dignitary'.On BBC Three at 9pm, 'Better Date Than Never' offers a gentler approach to reality television, following first-time daters in Australia. The double bill features Charles struggling with small talk and Olivia finding instant connection with a fellow Taylor Swift fan, alongside Liv who is already planning her wedding despite not having found a groom.The Travelogue Tradition: Michael Portillo in StockholmChannel 5's 7pm slot features Michael Portillo in Stockholm, offering viewers a tour of Swedish culture including meatballs, schnapps, and saunas. Though critics note the program has been 'thriftily recycled' from Portillo's previous 'Long Weekends' series, the 'inquisitive Tory grandee' remains 'reliably chummy company' and continues to sport items from his 'startling yellow wardrobe'.The Heritage Restoration: 'Our Welsh Chapel Dream'Channel 4's 8pm offering follows Keith Brymer Jones and Marj Hogarth as they continue their transformation of a Welsh chapel, now turning the Sunday school hall into a pottery studio. The episode also celebrates Keith's significant birthday with Welsh gin, a 50-strong male voice choir, and a unique cover of a Talking Heads song.The Film Choice: 'Small Things Like These'For streaming viewers, 'Small Things Like These' (2024) arrives on Netflix. Adapted by Enda Walsh from Claire Keegan's novel, Tim Mielants's drama approaches Ireland's Magdalene laundries scandal from a domestic angle. Cillian Murphy stars as 1980s coal merchant Bill Furlong, whose compassion is ignited by the brutal treatment of girls at a convent where he makes deliveries. The film explores his struggle against community silence in the face of church power.The Sporting Event: Champions League ActionPrime Video offers football fans the Champions League semi-final first-leg tie between PSG and Bayern Munich at 7pm, providing high-stakes European competition to cap off the evening's television offerings.

The Fallen by Louise Brangan offers a meticulously researched portrait of the Magdalene laundries, the most notorious component of Ireland’s 20th‑century network of correctional institutions. The review notes that, at their peak in 1951, the country held 70 women per 100,000 in these laundries compared with 27 men per 100,000 in prisons, underscoring the laundries as the primary carceral system for females. Although established under state authority, the facilities were operated by Catholic nuns. Girls as young as nine and women into their eighties were compelled to work six days a week, without wages, on arduous, often hand‑operated machinery. Discipline was severe, and any minor infraction could trigger harsh punishment. The book illustrates how women were funneled into the system with little justification. Brangan recounts the case of a 15‑year‑old named Eileen, who vanished in February 1954 after being approached by members of the Legion of Mary—a lay group tasked with policing Ireland’s moral standards. She was taken to a gated house marked “Saint Mary Magdalen’s Asylum,” stripped of her identity, and assigned the number “60.” The narrative emphasizes that many detainees were simply “wayward or unwanted”—homeless, abused, or otherwise marginalized—rather than having committed any serious crime. Brangan draws a stark parallel between the Catholic Church’s grip on Irish society and the Communist Party’s control in Eastern Europe before 1989, suggesting both operated as pervasive, authoritarian forces. The laundries, though conspicuously situated among ordinary businesses, were largely ignored by a public that chose not to confront the “tall, locked iron gates” and the suffering behind them. The review situates the laundries within a broader context of institutional abuse, referencing the mother‑and‑baby homes that saw an estimated 56,000 women and girls pass through, with roughly 57,000 babies born, most notably at the Bon Secours home in Tuam. Investigations by Catherine Corless uncovered a mass grave of nearly 800 infants, highlighting the systemic nature of the tragedy. Financial redress has been slow. To date, the Irish government has disbursed more than €33 million to survivors of the laundries, while most religious orders have refused to contribute. A survivor’s testimony, quoted by Brangan, captures the lingering impact: “There’s always something in my life that will remind me of my past… I’ll never heal.” The review concludes by noting that the book, published by Bodley Head at £22, serves both as a harrowing testament and a call to remember a dark chapter of Irish history that continues to shape the lives of those who endured it.

Tansy Davies's intriguing score for 'The Passion of Mary Magdalene' premiered with the Dunedin Consort, conducted by John Butt. This brand new Passion, co-commissioned with the Edinburgh international festival, explores the enigmatic figure of Mary Magdalene through a tautly written 90-minute work divided into seven episodes.The composition features eight singers, including four women and four men, with Mary Magdalene herself portrayed by Anna Dennis. The narrative weaves together texts from various sources, including the non-canonical Gospel of Mary and poetry by Ruth Fainlight. The music is characterized by intricate instrumental layers and a blend of traditional and modern elements, such as the use of an electric guitar.Davies's work is described as a meditation rather than a traditional Passion-setting, with a focus on the mystical and sensual aspects of the story. The performance is set to be featured at the Edinburgh international festival on August 8.