Four illustrations for the "In Memoriam" project, an exhibition about memory and what cannot be seen. The idea was to use art to talk about the situation in Gaza and the importance of not forgetting. In my drawings, I combined symbols representing Palestine (such as olive branches, traditional embroidery, and keys) ... Cuatro ilustraciones para el proyecto "In memoriam", que es una exposición sobre la memoria y lo que no se ve. La idea era hablar, a través del arte, de la situación en Gaza y de la importancia de no olvidar. En mis dibujos mezclé símbolos que representan a Palestina (como las ramas de olivo, los bordados tradicionales y las llaves) con mi estilo y mi error como identidad. No quería solo mostrar el dolor, sino también la resistencia y un poco de luz entre tanta sombra. El proyecto busca recaudar fondos para UNRWA y dar voz a quienes a menudo no la tienen. Para mí, participar fue una forma de usar el arte para algo más: para conectar, para sentir y, ojalá, para ayudar.

Meer dan honderd kinderen die samen op één voetbalveld trainen, wachtlijsten die uit wanhoop worden opgedoekt: op sommige plekken in Nederland is het een kwestie van geluk of je…

Sundance film festival: taut and emotionally intelligent drama follows the aftermath of an eight-year-old witnessing a horrifying sexual assault

Josephine, the titular character of Beth de Araújo’s stunning second feature, is eight years old. Played by equally remarkable newcomer Mason Reeves, Josephine likes playing soccer with her dad Damien (a phenomenal Channing Tatum), with whom she is close – the film’s crisp, near wordless opening minutes, which shift seamlessly from Josephine’s perspective to third party co-conspirator, running with the pair through San Francisco’s Golden Gate Park, swiftly convey a tender, playful bond: supportive, teasing father and innocent child.

That’s about all we know of Josephine – all we need to know, really – before seeing the incident that ruptures her youth. Having run ahead of her father at the park, Josephine alone witnesses the brutal rape of a female jogger by a man in a distinctive aqua polo. Much to the audible shock of viewers at the Sundance premiere, de Araújo rejects the ellipsis now de rigueur in movies handling sexual assault, how much of post-MeToo cinema – Promising Young Woman, She Said, Women Talking, last year’s Sundance standout Sorry, Baby – have skipped over or elided the actual assault, de-emphasizing violence and allowing viewers to fill in the blanks.

Josephine is screening at the Sundance film festival and is seeking distribution

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• Honnold climbs 508m Taipei 101 without ropes

• Netflix airs climb live after rain delay

• Feat sparks awe – and ethical unease

American rock climber Alex Honnold climbed the Taipei 101 skyscraper on Sunday without any ropes or protective equipment.

Cheers erupted from a gathered crowd as he started climbing the 508-meter (1,667ft) tower earlier Sunday, using the horizontal metal beams to pull himself up with his bare hands.

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De Amerikaanse klimmer Alex Honnold heeft zonder touw of zekering de 508 meter hoge wolkenkrabber Taipei 101 in de hoofdstad van Taiwan beklommen. Netflix zond de beklimming, die door slechte weersomstandigheden op zaterdag 24 uur was uitgesteld, live uit. Honnold startte zijn klim rond 09.10 uur lokale tijd en beklom de buitenkant van de wolkenkrabber van glas en staal. Ongeveer anderhalf uur later stond hij op de top van het gebouw.

Taipei 101 was van 2004 tot 2010 het hoogste gebouw ter wereld. Die titel is inmiddels in handen van de Burj Khalifa in Dubai. Honnold is de eerste persoon die zonder touw en zekering naar de top van de wolkenkrabber klom, meldt CNN.

Op de zonnige ochtend met hier en daar wat wolken verzamelden zich honderden fans buiten het gebouw om Honnold aan te moedigen, terwijl een helikopter boven de wolkenkrabber cirkelde.

Honnold verkreeg in 2018 wereldwijde bekendheid door zijn touwloze beklimming van El Capitan in het Amerikaanse natuurgebied Yosemite. Daarover werd de Oscarwinnende documentaire Free Solo gemaakt. Honnold wordt gezien als een van de beste rotsklimmers van zijn generatie.

Tasmanian.Kris has added a photo to the pool:

The air was thick enough to flatten the whole landscape, so I leaned into the muted palette. The layers of hillside stack nicely, each one softer and less committed than the last. Not dramatic, just a quiet record of how the place looked that afternoon.

Tasmanian.Kris has added a photo to the pool:

I liked the feel of the bark more than anything else, so I let it take over the frame. The path in the distance adds just enough context without dragging the eye away from the texture. A small study in surfaces, taken because it was there and had character.

Tasmanian.Kris has added a photo to the pool:

A simple little portrait of old brickwork surrounded by newer, tidier suburbia. I shot it for the texture, the shape, and the slight wonk in the mortar. The monochrome background keeps the focus where it belongs: on the chimney that has probably outlived half the street.

Tasmanian.Kris has added a photo to the pool:

I shot this because the rhythm of shingles against corrugated iron looked too neat to ignore. The diagonal cut gives the frame some attitude without overthinking it. It’s basically an exercise in pattern and repetition, but it works because the light catches each ridge like it’s been polished for the occasion.

Tasmanian.Kris has added a photo to the pool:

The overpass curves just enough to guide your eye without shouting. I kept the palette warm, leaning into that end-of-day feel. The mountains are soft and slightly hazy, which gives the image a gentleness I didn’t plan for but ended up liking.