Pink seesaws across US-Mexico border named Design of the Year 2020

Creators say they hope the work encourages people to build bridges between communities

A collection of bright pink seesaws that allowed people to interact over the US-Mexico border has won the prestigious Design of the Year award, with its creators saying they hoped the work encourages people to build bridges between communities.

The Teeter Totter Wall, which bridged across El Paso in Texas and Ciudad Juárez in Mexico during a 40-minute session, was described as not only feeling “symbolically important” but also highlighting “the possibility of things” by the judging panel.

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No true ‘city of culture’ should dishonour the bold ideals of its postwar rebirth

Plans for the centre of Coventry claim to offer a sense of place, but ignore its pioneering mid-century reconstruction

Coventry is UK City of Culture 2021, a title that focuses attention on its contribution to the cultural life of the nation: 1980s two-tone music, the legend of Lady Godiva, and its role in the development of the bicycle and car industries. And, high on this list, the fact that it was the pre-eminent example of reconstruction after wartime bombing.

Among the most devastated cities, Coventry was also one of the most determined and thoughtful in its reconstruction. This was partly expressed by its new cathedral, which brought together leading art and architecture, and connected movingly with the ruins of its predecessor. It was also expressed by the city centre, rebuilt as a series of human-scaled, pedestrian-friendly precincts. Here, too, the idea was for art and architecture to work together.

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Want to understand the Capitol rioters? Look at the inflamed hate-drunk mobs painted by Goya

The horrific visions of the Spanish painter are about to go on display at New York’s Met. Americans should flock to this timely show – because no artist better captured collective delusion and mass fanaticism

The macabre art of Francisco Goya, the first truly modern artist, is due to be exhibited at the Metropolitan Museum in New York next month and there could hardly be a more urgent moment for Americans to look at his images. For, over 200 years ago, this Spanish artist perfectly captured the kind of collective delusion and mass fanaticism that swarmed the US Capitol last week. The mob of Trump supporters who assaulted the home of American democracy were as inflamed as the crowd who march with crazed eyes behind a manic musician in The Pilgrimage to San Isidoro, as dangerous as the hate-drunk crowd in The Second of May 1808, spellbound by their goat-headed charismatic idol.

And then there’s The Burial of the Sardine, in which a delirious crowd cavort around a huge banner of a madly grinning face. At first glance, it seems to be a joyous carnival scene, but look closer and the intensity of their rite becomes unsettling as you notice that face on the banner, their vacant lord of the dance. It has a definitive Trumpian air.

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The Wodge: can London’s tallest new skyscraper survive the Covid era?

Nicknamed The Wodge because of its girth, the capital’s tallest ever office has just muscled onto the skyline. But in the age of coronavirus, who wants to jostle for 60 lifts with 12,000 others?

With the City of London deserted once more, its streets only populated by the occasional Deliveroo driver or tumbleweed-seeking photographer, it seems a strange time to be completing the largest office building the capital has ever seen, not least because the very future of the workplace is now in question.

But, rising far above the Cheesegrater and the Walkie-Talkie, dwarfing the now fun-sized Gherkin and boasting the floor area of almost all three combined, 22 Bishopsgate stands as the mother of all office towers. It is the City’s menacing final boss, a glacial hulk that fills its plot to the very edges and rises directly up until it hits the flight path of passing jets. The building muscles into every panorama of London, its broad girth dominating the centre of the skyline and congealing the Square Mile’s distinctive individual silhouettes into one great, grey lump.

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Maradona lifts the World Cup: David Yarrow’s best photograph

‘I bribed a stadium guard with whisky and got dead close just as he was lifted on to another player’s shoulders. It was like a biblical scene. He looked magnificent’

On the final day of exams at Edinburgh University in the summer of 1986, most students partied, but I flew directly to Mexico City. I was 20 years old and studying business and economics while taking photos on the side. I’d never been to the Americas before, and I wasn’t at all a good photographer; in fact, I was incredibly average.

I arrived at the 1986 World Cup under the guise of being a freelance photojournalist, but I was a Scotland fan first and foremost – they always used to say that Scottish journalists are just fans with typewriters. I did have a press pass that I’d managed to blag off the Times, which granted me access to the media pen, but I was much more interested in watching football than taking photographs of it. There was a moment in the first round of a match with Uruguay when Scotland missed an open goal. Back at the Times they were watching the TV coverage of the game and could see the striker with his head in his hands, and in the background me with my head in my hands and with my camera nowhere near the moment. And they thought: “Well this guy, Yarrow, he’s not focused on the task at all.”

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Beirut’s wounds on show in display of art damaged by port blast

Exhibition presents torn paintings and grazed sculptures in a museum itself hit by explosion

Through the entrance is a version of Guido Reni’s 17th-century portrait of St John the Baptist, blown to shreds. Nearby, a chandelier lies splattered on the ground where it fell. Mirrors are cracked, paintings ruptured, and roofs in some rooms half-caved in.

Beirut is slowly rebuilding from the explosion on 4 August that destroyed much of its eastern seafront neighbourhoods and tore through galleries and hotel lobbies where some of Lebanon’s most renowned art was on display.

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The vagina dialogues: 33-metre artwork draws far right’s ire in Brazil

Juliana Notari’s hillside sculpture sparks clash between Bolsonaro-supporting right and leftwing cultural community

A 33-metre reinforced concrete vagina has sparked a Bolsonarian backlash in Brazil, with supporters of the country’s far-right president clashing with leftwing art admirers over the installation.

The handmade sculpture, entitled Diva, was unveiled by visual artist Juliana Notari on Saturday at a rural art park on the grounds of a former sugar mill in Pernambuco, one of Brazil’s most culturally vibrant states.

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Italy begins year of Dante anniversary events with virtual Uffizi exhibition

Gallery puts seldom-seen Divine Comedy sketches on display online to mark 700 years since poet’s death

Eighty-eight rarely seen drawings of Dante’s The Divine Comedy have been put on virtual display as Italy begins a year-long calendar of events to mark the 700th anniversary of the poet’s death.

The drawings, by the 16th-century Renaissance artist Federico Zuccari, are being exhibited online, for free, by the Uffizi Gallery in Florence.

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Patti Smith: ‘As a writer, you can be a pacifist or a murderer’

As she prepares to ring in 2021 with a performance on screens at Piccadilly Circus, the punk poet explains why she’s optimistic amid the ‘debris’ of Trump’s years in office

Patti Smith talks about her first poetry performance – in 1971 at St Mark’s Church in New York’s Bowery – as if it were yesterday. “I remember everything,” she says over the phone from her home in New York. Smith was in her early 20s, working at a bookshop and living in the Chelsea Hotel with her then lover, the playwright Sam Shepard. She had attended poetry readings before, most of which put her into a deep sleep. “I wanted to do something that wasn’t boring,” she recalls. “Sam said that since I sang to myself all the time, I should try singing a song, or maybe do something with a guitar.” And so she called on the musician Lenny Kaye to provide “interpretative” noises on guitar while she half-read, half-sang her poems.

The show was an instant hit. “It seemed to make a big impression on people – which I really didn’t understand,” she says. The producer Sandy Pearlman approached her afterwards and suggested she front a rock band. She eventually took his advice, making the landmark album Horses in 1975, and an icon of American punk was born.

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Amsterdam gallery owner recalls how sale of Banksy work saved staff jobs

Kim Logchies-Prins tells how employees gathered around canvas, sold for £1.5m, to give thanks

The owner of an art museum in Amsterdam who sold a prized Banksy painting for £1.5m to avoid laying off staff during the coronavirus pandemic has told how her employees gathered around the canvas to give thanks.

Kim Logchies-Prins, co-founder with her husband, Lionel, of the Moco museum of modern, contemporary and street art, said she joined 20 of the office staff to pay respects and say goodbye to Banksy’s Monkey Poison, following its sale to an anonymous US buyer at an auction in New York.

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Myrrh mystery: how did Balthasar, one of the three kings, become black?

They are a Christmas card staple – the three kings who followed a star to the baby Jesus. But one of them caused a revolution in art. We unravel the mystery of the Magi

They came bearing gifts of gold, frankincense and myrrh. This description of the Magi, the three kings or wise men who followed a star to the newborn Jesus, has always given artists plenty of scope to depict ornate boxes, cups and vessels. Paintings show them followed by pages, servants, soldiers and pack animals – an entire royal retinue. Dressed in their finest, making their way across deserts and over mountains guided by a light, these pilgrims to the lowly stable always look magnificent.

Although the Gospel of Matthew does not give individual names to this regal trio, we know them as Balthasar, Caspar and Melchior, thanks to a Greek manuscript from AD500. It was in the middle ages, too, that they were promoted from astronomers to kings. And a text attributed to the Venerable Bede, the historian monk from Northumbria, makes Balthasar black. Despite Bede’s assertion, there are very few images of a black Balthasar before 1400, possibly because medieval Europeans had so little concept of Africans. It was only with the dawning of the Renaissance that Balthasar’s colour began to be emphatically depicted. In fact, the trumpeting, joyous festive subject of “the adoration” inspired some of the richest portrayals of black people in European art.

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The Maradona and child: Naples honours its hero with nativity figurine

A new addition to the Christmas scene in artisan shops shows city’s love for footballer

The southern Italian city of Naples usually enjoys a fervent lead-up to Christmas, with one street in particular – Via San Gregorio Armeno – buzzing with people buying handcrafted cribs and terracotta figurines for their nativity scenes at home.

There is also much anticipation each year over which new figurine they can buy. Traditionally, it was a shepherd or an animal that would join baby Jesus, Mary and Joseph, but now it is usually a figurine of a personality of that year. Recently crafted statuettes include tributes to doctors and nurses who have worked throughout the pandemic as well as ones of the US president-elect Joe Biden and his deputy, Kamala Harris.

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Masked Horses: photographs by Tim Flach

Wildlife photographer Tim Flach’s series Masked Horses speaks to the role of the horse as a companion to humankind over the ages. A disguise, or a protection the images reflect on our current pandemic. Flach’s animal photographs have often been likened to classical portraiture and his portraits of horses wearing gas masks, head protectors, equine inhalers and blindfolds are both captivating and disturbing

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Banksy confirms he created ‘Aachoo!!’ artwork in Bristol

Stencil mural unveiled on side of house shows woman sneezing out her false teeth

Banksy has confirmed he is behind an artwork showing an older woman sneezing out her false teeth which has appeared on a house in Bristol.

The stencil mural entitled “Aachoo!!”, on the side of a semidetached house in Totterdown, had been covered up before its unveiling on Thursday morning.

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Noël Coward’s private lives: the photographs that could have landed him in jail

A newly discovered album contains intimate, joyful glimpses of the playwright drinking, partying and holidaying with his famous friends and lovers. The result is an astonishing insight into gay life in the interwar years

In 1931, Noël Coward was the highest-earning author in the western world, celebrated for his scintillating comedies and sensational dramas of hidden love such as The Vortex, Private Lives and Easy Virtue. As well as writing hit songs, musicals, novels and short stories, he painted and, not least, performed. But perhaps the most astounding thing of all is the fact that – at a time when homosexuality was illegal and would remain so for some time – he lived an openly gay life.

It is this that makes a newly discovered photograph album so extraordinary. It shows intimate glimpses from the private life of this towering cultural figure. Apparently compiled in the 1930s by Coward’s closest female friend, Joyce Carey, the album is a remarkable insight into gay lives of the interwar years, lived in plain sight. Carey died in 1993. It is because of her long-held loyalty to the man she and other intimates only half-ironically called the Master that the album has only now come to light, due to be sold at a London sale room later this month.

Many of the shots were taken at Goldenhurst, Coward’s country retreat in Kent, an extended redbrick farmhouse he bought in 1926. Here, and at more exotic sites, we see the artist and his famous friends at play. They bask in the ancient, faded sunlight, these people whose lives were bookended by two world wars. There’s Lord Mountbatten, fishing – Coward was later to play him in the wartime film In Which We Serve. And here’s Alec Guinness, in smart sunglasses, with his seraphic smile that gave little of his personal life away.

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