Golden history of Kazakhstan’s Saka warrior people revealed

Exhibition at Fitzwilliam Museum in Cambridge to tell story of little known civilization that flourished from eighth to third century BC

Wisdom, as Bob Marley put it, is better than gold. From next month however, the precious metal is central to a major new historical exhibition in Cambridge using loaned artefacts telling the story of an ancient civilization little known beyond Kazakhstan.

Golden objects unearthed from ancient burial mounds built by the Saka warrior people of central Asia – a culture which flourished from around the eighth century BC to the third century BC – will go on display at the Fitzwilliam Museum.

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How the ‘art of the insane’ inspired the surrealists – and was twisted by the Nazis

The author of an acclaimed new book tells how Hitler used works by psychiatric patients in his culture war

On a winter’s day in 1898, a stocky young man with a handlebar moustache was hurrying along the banks of a canal in Hamburg, north Germany. Franz Karl Bühler was in a panic, fleeing a gang of mysterious agents who had been tormenting him for months. There was only one way to escape, he thought. He must swim for it. So he plunged into the dark water, close to freezing at this time of year, and struck out for the far side. When he was hauled on to the bank, soaked and shivering, it became clear to passersby that there was something odd about the man. There was no sign of his pursuers. He was confused, perhaps insane. So he was taken to the nearby Friedrichsberg “madhouse”, as it was known then, and taken inside. He would remain in the dubious care of the German psychiatric system for the next 42 years, one of hundreds of thousands of patients who lived near-invisible lives behind the asylum walls.

Bühler’s incarceration disturbed him, but it also marked the beginning of a remarkable story, one in which he played a leading role. It reveals the debt art owes to mental illness, and the way that connection was used to wage history’s most destructive culture war.

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Tate donor warns: ‘I’ll take back my £20m Francis Bacon collection’

Barry Joule, a close friend of the artist, says the gallery has not kept to a pledge to stage exhibitions of the works

When more than 1,200 sketches, photographs and documents from the studio of Francis Bacon were donated to the Tate in 2004, it was described as one of the most generous gifts the gallery had ever received, estimated to be worth £20m. Now the donor is threatening to cancel the gift, accusing the gallery of reneging on pledges to stage exhibitions of the material.

Barry Joule, a longstanding friend of Bacon, had wanted the items to go to the Tate, as it had been the artist’s favourite gallery. Over the years, he kept expecting the Tate to do justice to it with an exhibition, as he says they had planned on accepting the gift. He wrote repeatedly to curatorial staff, asking when the show would happen.

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Bryan Adams photographs Cher, Grimes and Iggy Pop for Pirelli calendar

Jennifer Hudson, St Vincent and other music stars also feature in touring-themed photoshoots conceived by rocker-photographer

Images of recording artists including Cher, Iggy Pop, Jennifer Hudson and Grimes will feature in one of the world’s best known photographic commissions.

For the 2022 Pirelli calendar, the rock star and photographer Bryan Adams has captured superstar singers as if they were touring – precisely what they have been unable to do for more than a year.

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A bride waving a flag in bombed-out Beirut: Christine Spengler’s best photograph

‘Shortly after arriving, I was kidnapped by a militia group who said I was a spy. A decade later, I went back to show life and beauty returning to the city’

I spent my childhood in Madrid and I went to the Prado every week from the age of seven. I would cry at the works by Goya. His paintings of the Spanish war of independence moved me like nothing else. I never grew up around photography – I grew up around Goya. Even as a child, I was attracted to the dark fates of the world.

Over the course of my career, I’ve covered 13 conflicts, more than many of the famous war photographers of my generation. I’ve worked in Vietnam and Cambodia, Eritrea and Northern Ireland, Afghanistan and Iran. I’ve always tried to capture a glimpse of hope against a background of drama and destruction. That has not always been possible.

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Hemingway ‘wannabes’ celebrate author with lookalike contest

Fans in Nobel prizewinner’s favourite haunt of Key West hold their 40th competition on his birthday

Ernest Hemingway is survived as much by his macho mythology as he is by his writing. Hemingway was in two plane crashes in two days. Hemingway shot himself in both legs while wrangling a shark. Hemingway had at least nine major concussions – and four wives. He had brain damage. He won the Pulitzer and the Nobel prize. He hunted and fished and wrote plays and books and articles and stories, for ever in pursuit of the truest sentence. He was rageful, charming, violent, brilliant and drunk.

Hemingway is also something of a Key West mascot, especially for a week every July, when a festival called Hemingway Days, which coincides with his birthday (this year, he would be 122) honours his legacy by gathering his lookalikes together.

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Tokyo review – lust and loneliness in Japan’s pleasure quarters

Ashmolean Museum, Oxford
A seductive encounter with past and present at the Olympic city shows that Tokyo practically invented modern art

Love hotels and cross-dressers make Tokyo’s nightlife eye-popping – and that’s just in 18th-century woodblock prints. The Ashmolean’s seductive overview of the Olympic city’s art sets these classics alongside images of contemporary Tokyo to create a thrilling and informative encounter with one of the world’s great art capitals.

Past and present meet for a sultry encounter in the night. A wall is lit up by Mika Ninagawa’s intensely coloured photos of blue- and pink-haired clubbers. They are so now – yet close by in the same gallery is a painted scroll from the 1600s that is just as provocative. It depicts the pleasure quarter of Edo, as Tokyo was then called, which became Japan’s capital when the Tokugawa shoguns united the country in the 17th century. It was famous for its pleasure quarter, “the floating world”, and the new art genre it inspired – ukiyo-e, “pictures of the floating world”. In the scroll, samurai warriors are seen visiting courtesans. But samurai were banned from the pleasure quarter so they wear straw hats pulled down to hide their faces. The comically phallic swords peeping out from their robes give them away.

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‘It can’t be ignored’: Osman Yousefzada on his gigantic artwork

He has dressed Beyoncé and Lady Gaga – and now he’s dressed Birmingham. As his ‘infinity pattern’ is unveiled, the artist talks poverty, class – and why he’s not interested in being a ‘good immigrant’

Approaching Birmingham New Street station on the train, you’ll normally spot the scaly curves of Selfridges’ landmark Future Systems-designed building nestling in the cityscape. But right now, rising into the summer sky in its place, is a bright pink and black structure. Startling, cheering and entirely unmissable, Infinity Pattern 1 is a giant installation by the multidisciplinary artist Osman Yousefzada. He was formerly best known as a fashion designer, whose beautifully tailored and elegantly architectural pieces have been worn by Beyoncé, Lady Gaga and Taylor Swift. Now the 44-year-old has tailored a distinctive look for the Selfridges store, said to be the height of three jumbo jets, surrounding the building during a year of restoration.

Infinity Pattern 1 is Yousefzada’s first piece of public art, selected by Birmingham’s Ikon Gallery from an international shortlist. “You can read it clearly from a long way away and that was something we considered when we were selecting,” says Jonathan Watkins, Ikon’s director. “We wanted it to ring out from afar. The fact that Osman comes from Birmingham, but is so cosmopolitan and such a Renaissance man, it’s wonderful that he was the one who won.”

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Departures at high-profile Barcelona museum provoke anger in art world

Hundreds sign petition after the jobs of Tanya Barson and Pablo Martínez, two senior figures at Macba, are axed

A row has broken out in the international art world over the departures of Tanya Barson, the English curator, and Pablo Martínez, the head of programmes, from the Barcelona Museum of Contemporary Art (Macba).

The pair departed on 16 July, the day after Elvira Dyangani Ose, the director of the Showroom in London, was appointed as the museum’s new director.

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Why the Marble Arch Mound is a slippery slope to nowhere

The artificial hill in central London seems a great idea, but it would be better to have done something that genuinely helped the environment

The Torre Guinigi in Lucca, Italy, is a brick medieval tower – it’s handsome, but of a type common enough in historic Tuscan cities. What makes it special is a grove of holm oaks growing from its summit. Trees come with expectations, such that they are rooted in the ground, yet there they are, high in the air, apparently flourishing. The tower would be less interesting if it weren’t for the trees and the trees would be less interesting if it weren’t for the tower.

So there’s something compelling about trees in unexpected places. Hence at least part of the appeal of the High Line in New York, where gardens grow on an old elevated railway line, and of the ski slope on top of the Amager Bakke power plant in Copenhagen. There’s been a thing for wrapping towers in vegetation in recent years. Little Island, the micro-park recently created by Thomas Heatherwick over the Hudson, has a similar well-I-never, Instagram-able impact.

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‘I shoot for the common man’: the photographs of Danish Siddiqui

The photojournalist Danish Siddiqui was shot dead last week while documenting the Taliban offensive in Afghanistan. His award-winning work for Reuters spanned some of the world’s most era-defining crises.
He said: ‘I shoot for the common man who wants to see and feel a story from a place where he can’t be present himself.’
Siddiqui leaves behind his wife, Rike, and two children. And a breathtaking body of work

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‘I’m not Jeff Koons!’ – the endurance crawls, weird texts and guerrilla brilliance of Pope.L

Pope.L started out doing performance art because it was cheap, once crawling through a city in a Superman outfit. Now all the big museums want his often racially charged work. As a rare show opens in Britain, he looks back

For a long time, if anyone ever asked for his contact details, Pope.L would produce a business card proclaiming him to be “The Friendliest Black Artist in America”. Sure enough, when he pops up on a video call from his ramshackle studio in Chicago, the performance artist and painter is amenable and thoughtful. In trucker cap and checked shirt, he shifts between smiles and pensive frowns as we track his journey from “difficult” childhood to one of America’s foremost artists, whose work deals with race, economics and language.

In 2019, he was given a retrospective that, in an exceptional move, spread across both the Museum of Modern Art and the Whitney Museum in New York. The exhibition showcased his 40 years of endurance crawls, guerrilla performances, sculpture and text paintings. Those text paintings are now the focus of Notations, Holes and Humour, a show that just opened at Modern Art in London, his first British exhibition in over a decade.

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‘Not in this town’: artwork about Britain’s ‘nuclear colonialism’ removed

Tory councillors are accused of censorship over installation on atom bomb tests in Australia in a Southend park

An Australian artist has accused a group of Conservative councillors of using “bullying strategies” to silence and censor her work after an installation she created to highlight Britain’s “identity as a colonial nuclear state” was removed from a park in Essex.

The councillors threatened to “take action against the work” if it was not removed, according to Metal, the arts organisation that commissioned and then removed the installation from Gunners Park in Southend.

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Parklife: the year we fell in love with London’s green spaces

Sophia Spring’s photographs celebrate how London’s many parks became a lifeline for locals during the pandemic, writes novelist David Nicholls

We didn’t call it the park; it was the “rec”, as in “recreation ground”. A flat, featureless oblong of patchy grass, sodden in winter, parched in summer, scattered with ring-pulls and dog mess – this was the late 70s – its great featureless expanse broken only by buckled goalposts and a few skinny, unclimbable trees. I hated the rec, partly because of the threat of team sports, partly because of the possibility of violence – the two seemed to go together – but during those long, endless days of summer, when the glare of sunlight on the TV screen became too much, we were harried out of the house to “get some fresh air”. And so we loitered on that great barren prairie, an immense waiting room, wondering why anyone would go to the park out of choice.

Last summer, there were queues at the gates of Clissold Park and anyone wanting to exercise in Highbury Fields was advised to go early to avoid the rush hour. All over the city, the parks began to resemble the sites of the festivals that had all been cancelled and if Londoners had ever taken their green spaces for granted, there was no danger of that now. In the space of six months, they’d been repurposed as meeting rooms, nightclubs, concert halls, theatres and cinemas, cafes and restaurants, impromptu markets, family living rooms, gyms. London is supposedly a city of 3,000 parks and while I’m a little sceptical of that number, it’s true that the city had never seemed greener than that summer. On early morning bike rides I discovered Bushy and Ruskin and Trent, Peckham Rye and Beckenham Place and Ladywell Fields. I discovered the canals and waterways that link them too, the bloodstream of London, captured so brilliantly by Sophia in these photographs. Walk north on the Lea, west or east on the Grand Union, south on the Wandle or the Waterlink Way and you can see the ghosts of London’s old industries, cranes and disused warehouses and old pumping stations. Keep walking for the rest of the day, under the pylons and past the depots, and you can feel the city fading behind you, the skies opening up.

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Global art takes root in the Balearics – with a whiff of Somerset

Hauser & Wirth is known for its galleries in Zurich, Monaco, Hong Kong, New York, LA and Bruton.

For all the lizards, the loquats and the lantana, Menorca’s newest art gallery, which lies amid the blue waters and lolling yachts of Mahón harbour, carries the faintest whiff of a corner of Somerset.

Illa del Rei, a 40,000-sq-metre island a short boat ride from the Menorcan capital, Mahón, has a long and unique history. As well as being the site of a sixth-century Christian basilica and a staging post for Alfonso III’s conquest of Menorca 700 years later, the island is home to a decommissioned naval hospital founded by the Royal Navy in 1711 when Menorca was in British hands.

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Manchester shows support for Marcus Rashford: ‘It’s evolved into something special’

Community comes together to back England footballer and oppose racism after mural was defaced

“We’re going to take the knee like the footballers do,” said Nahella Ashraf, leading a crowd of at least 300 people in performing the anti-racism gesture in front of the freshly repainted mural of Marcus Rashford on Tuesday evening.

Ashraf, a member of Manchester Stand Up to Racism, said she aimed to show “we are the majority” after the mural was defaced in the wake of England’s Euro 2020 final defeat.

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A love from beyond the grave – Kurt Tong on his ‘ghost marriage’ photographs

His latest project, piecing together the story of a bereaved Hong Kong man who wed his dead fiancé, has won an award. The photogapher reveals how it began with the discovery of a trunk of keepsakes

At the centre of Kurt Tong’s elaborate visual narrative Dear Franklin, there is a doomed love story that is also a ghost story. It traces the intertwined lives of Franklin Lung, a man who rose from poor beginnings to become part of Hong Kong’s social elite in the 1940s, and a young woman known only as Dongyu, the daughter of a high-ranking Chinese general.

They met, fell in love, but shortly after their engagement, Dongyu was one of several thousand refugees fleeing the Chinese communist army on board the SS Kiangya when it struck an old Japanese sea mine. “Their love story should have ended with this terrible tragedy,” says Tong, “but it continued after her death because Franklin agreed to a ‘ghost marriage’, an elaborate traditional ceremony in which he became eternally wedded to Dongyu in the spirit world.”

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Basque country hails ‘forgotten’ retelling of Picasso’s Guernica

Agustín Ibarrola’s 1977 version was painted as part of campaign to get the original returned from New York

The grief-snapped mother is still there, cradling her dead child 84 years on, as is the fallen soldier with his stigmata and the horse with its silent screams.

However, the Guernica now on its way to a museum in the Basque country is not Pablo Picasso’s monochrome howl of anti-fascist fury but a retelling of the work intended to help bring the original to the market town whose agonies beneath waves of German and Italian bombers inspired its creation – and to denounce the subsequent horrors of the Franco dictatorship.

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Two decades of Indigenous photography: the work of Wayne Quilliam – in pictures

For more than 20 years, Aboriginal photographer Wayne Quilliam has captured significant Indigenous events across Australia, from the national apology to the Stolen Generations to the Garma, Barunga and Yeperenye festivals. In his travels through country, Quilliam often visits communities to teach Indigenous youth how to capture their own lives through a lens. His book, Culture is Life, is a modern, photographic celebration of the diversity of Indigenous Australians

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Damien Hirst on painting cherry blossom: ‘It’s taken me until I’m 55 to please my mum’

The former hell-raising, hard-partying YBA known for slicing animals in half is now painting trees in bloom. Has he lost his edge? And why is his hair blue?

The first thing that hits me when I see Damien Hirst’s Cherry Blossoms isn’t the scale (monumental) or the palette (psychedelic) but the paint itself. It’s thick, sticky and a little bit nasty. Creamy-white and dusty-pink daubs swirl from the surface like meringue kisses, fragile and sugary sweet. Others are more chewy, like dried gum. Then there are the viscous splats of mustard-yellow and brown, which are toe deep and remind me of something I side-stepped on the pavement this morning.

“I think the idea of being a painter has always appealed to me,” says Hirst, who is more famous for what we might call his non-canvas work. “I suppose it’s that old story of Turner being strapped to a mast during a storm so he could paint it – it’s a romantic thing.”

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