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‘There’s a deer trapped in an escalator’: muntjac rescued from Norwich M&S

Animal wedged upside down nicknamed ‘lucky’ Lucy after being freed with only superficial cut on foot

“There’s a deer trapped in an escalator” was not a phrase anyone at Hillside Animal Sanctuary in Norfolk was expecting to hear when staff at a Marks & Spencer department store in central Norwich called last Tuesday.

“In Norfolk, deers often get themselves in trouble,” said the sanctuary’s founder, Wendy Valentine. “They get stuck between walls and sheds, and in gates. It’s quite common for deer to get trapped … But ‘trapped in an escalator’ was a first.”

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Colossal

The best of art, craft, and visual culture since 2010.

Arghavan Khosravi Breaks Through Gendered Restrictions in Her Architectural Portraits

Arghavan Khosravi Breaks Through Gendered Restrictions in Her Architectural Portraits

Fusing elements of Persian architecture with Christian altarpieces, Arghavan Khosravi grapples with the structures and ideological strictures that shape our lives. The Iranian artist has long reckoned with women’s fight for equality, particularly amid censorship and religious dogma in her native country. Through vibrant gradients that radiate across her sculptural paintings, Khosravi entices the viewer into urgent, ongoing conversations about resistance and control.

Opening today at Uffner & Liu, What Remains presents a dynamic new body of work that captures moments of tension and strife. Figures, in Khosravi’s works, are often restricted and tethered to domestic objects and space, and critically, physically separated from one another. Complete with hinged shutters, suspended cords, and tiny visages tucked into unassuming openings, these new pieces incorporate women obscured by their surroundings, leaving only fragments of a limb or face visible.

a sculpture with a stack of books, clouds, a building, and a woman's silhouette bound with gold cords
“Suspended” (2026), acrylic on canvas mounted on wood panel, acrylic on wood cutout, acrylic on shaped wood panel, leather cord, rubber cord, plexiglass, 27 1/2 x 30 x 19 inches

While altarpieces have historically been utilized to share stories of the divine through visual depictions, Khosravi instead turns inward. She lives and works in Stamford, Connecticut, and her homesickness and longing for a changed Iran are strong. Large-scale works like “Bearing” portray a seated woman buttressing a Persian building, thick, black, oil-like liquid seeping from its foundation.

What Remains was already in progress before the U.S. war against Iran, the gallery shares. The works are therefore not in response to this particular conflict but rather a timely acknowledgment of what it means to live in a region continually in crisis. As always, Khosravi reminds us that even amid chaos, destruction, and government overreach that outlasts any singular emergency, beauty and self-empowerment can still trigger a new paradigm.

What Remains runs through July 2 in New York. Explore more of the artist’s politically attuned works on Instagram.

a colorful sculpture of a standing woman in the center with a drape blowing on the right and a closeup of a face on the left
“The Whisper” (2026), acrylic on shaped wood panel, acrylic on canvas mounted over shaped wood panel, 70 x 85 x 7 1/4 inches
four blindfolded guards stand atop a Persian building
Detail of “Suspended” (2026)
an architectural sculpture of a building dripping black over a woman holding a broken hand mirror
“Bearing” (2026), acrylic on canvas stretched over shaped wood panel, acrylic on wood panel, wood cutouts, plexi mirror, 88 x 26 1/2 x 7 3/4 inches
a woman's silhouette bound with gold cord on a stack of books
Detail of “Suspended” (2026)
a shelf like sculpture with books, a horse shaped bookend, and a frame with two eyes peering at each other. a bird cage is in front
“Collision” (2026), acrylic on canvas mounted over shaped wood panel, wire mesh, 17 x 41 x 3 inches
a shelf like sculpture with books, a horse shaped bookend, and a frame with two eyes peering at each other. a bird cage is in front
Detail of “Collision” (2026)
an architectural sculpture of a Persian window with shutters opened to show a hand and a headphone cord running to an ear on the right side
“The Listener” (2026), acrylic on shaped wood panel, acrylic on canvas, cord, 19 1/2 x 20 x 2 inches
a Persian architectural window opened to show a woman with a bird inside and a hand emerging from a red base in front of the window with a paintbrush and bird
“Stillness” (2026), acrylic on canvas mounted over wood panel, 15 x 13 x 4 inches
a Persian window opened to show three women in various stages of braiding their hair
“Bound” (2026), acrylic on canvas mounted on wood panel, acrylic on shaped wood panel, wood cutout, 13 1/2 x 15 x 2 inches
an arched window opened to reveal two figures and a small waterfall with stones at the base
“Counting” (2026), acrylic on canvas mounted on wood panel, acrylic on shaped wood panel, styrofoam, glass beads, polyester thread, 20 1/2 x 17 1/2 x 5 1/2 inches

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Arghavan Khosravi Breaks Through Gendered Restrictions in Her Architectural Portraits appeared first on Colossal.

kottke.org

Jason Kottke's weblog, home of fine hypertext products

25 Books That Capture This American Moment . They...

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In dit blog houden we je op de hoogte van het belangrijkste en meest opvallende 112-nieuws uit de regio van vrijdag 15 mei.

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