CARACAS (ANP) - Het dodental van de dubbele aardbeving die Venezuela op 24 juni trof, is opgelopen tot 3685. "Officiële cijfers per 7 juli: 3685 doden, 16.740 gewonden", aldus een verklaring van de regering, waarin geen melding werd gemaakt van het aantal vermisten. Zondag stond het aantal doden nog op 3535.
De Venezolaanse interim-president Delcy Rodriguez zei dinsdag dat de internationale luchthaven, die vorige maand beschadigd raakte door twee aardbevingen, "zo snel mogelijk weer opengaat" voor commerciële vluchten. De luchthaven ligt in La Guaira, de kuststreek ten noorden van Caracas die het zwaarst getroffen werd door de dubbele beving.
De luchthaven is wel al gedeeltelijk opengesteld voor humanitaire vluchten.
LONDEN (ANP) - Tennisser Novak Djokovic heeft voor de vijftiende keer in zijn carrière de halve finale van Wimbledon bereikt. Dat deed de Servische 24-voudig grandslamwinnaar dinsdagavond in een vijfsetter tegen de Canadese nummer 4 van de wereld Félix Auger-Aliassime: 7-6 (10) 3-6 6-3 6-7 (4) 7-6 (4).
In de halve finale treft Djokovic de Italiaanse titelverdediger en nummer 1 van de wereld Jannik Sinner. Auger-Aliassime kwam op Wimbledon nooit verder dan de kwartfinale.
In de eerste set gaven beide tennissers niets weg en moest een tiebreak de doorslag geven. Daarin kregen beide mannen drie setpoints, en ging de winst met 12-10 naar Djokovic. De tweede set ging dankzij een break in de achtste game naar Auger-Aliassime. In set 3 had Djokovic aan een break genoeg.
In de vierde set leek de Serviër door te pakken met een vroege break, maar opnieuw kwam het aan op een tiebreak. Die ging naar de Canadees. Ook in de vijfde set gaven beide tennissers niets weg waardoor een supertiebreak nodig was. Daarin wist Djokovic zijn eerste van vijf matchpoints te benutten om een plaats in de halve finale veilig te stellen.
WASHINGTON (ANP/RTR) - Het Amerikaanse leger heeft een reeks "krachtige" luchtaanvallen op Iran uitgevoerd, meldt het Amerikaanse centrale commando CENTCOM op X.
De aanvallen waren een reactie op wat volgens het commando Iraanse aanvallen waren op drie commerciële schepen die door de Straat van Hormuz voeren. "De door Iran getoonde agressie was ongerechtvaardigd, gevaarlijk en een duidelijke schending van het staakt-het-vuren", aldus CENTCOM.
Iraanse staatsmedia melden dat er diverse explosies te horen waren in en rondom de Zuid-Iraanse kustplaats Sirik, die aan de Straat van Hormuz ligt.
Iran houdt de Amerikaanse regering verantwoordelijk voor de gevolgen van de "schending van het memorandum van Islamabad" over het beëindigen van de oorlog, laat het Iraanse ministerie van Buitenlandse Zaken weten via staatsmedia.
Living on today in libraries from Copenhagen to Munich, the strange figure of the Wound Man gives modern viewers a glimpse of the worrying injuries that the medieval body could receive through war, accident, and epidemic. But at the same time, it shows that medieval people did not think of themselves as helpless victims in the face of these assaults. Far from reinforcing the common perception of the European Middle Ages as a backwards and bloody period of human history, the Wound Man reminds us that it was in fact a period busy with innovative medical treatments, a vital link between the long-standing cures of the classical world and developments that were to follow in early Renaissance medicine.
This reboot of a 2000 film, based on a script by the great Ingmar Bergman, features some extremely odd camera work and a very strangely written female lead. But it’s frequently bewitching
The film Faithless, a cruel adultery fable directed by Liv Ullmann from a screenplay by the great Ingmar Bergman, was something of a throwback even when it came out in 2000: that sort of sensual dissection of arty middle-class mores was no longer common cinematic currency. Arthouse indulgence hadn’t died out altogether and it still hasn’t today, but, for generations of viewers in 2026 weaned on premium streaming, the lofty waft of the new Faithless TV reboot, adapted from the Bergman scripts by Sara Johnsen and directed by Tomas Alfredson (Let the Right One In, Tinker Tailor Soldier Spy), might seem alien.
We’re smoking on planes and wearing corduroy suits in deep maroon: yes, it’s 1977 and, in Stockholm, actor Marianne (Frida Gustavsson) and her pianist husband Markus (August Wittgenstein) are visited by Markus’s oldest friend David (Gustav Lindh), a wannabe film auteur who’s returned from London bruised by his divorce. Episode two introduces a second timeline, in the present, where lauded director David (Jesper Christensen) and veteran performer Marianne (Lena Endre, who was the younger Marianne in the Ullman movie) meet again and reflect on the damage caused by their affair.
Hossam Hassan’s side beaten after being 2-0 up late on
‘They want Messi to stay in the tournament’
Egypt’s manager, Hossam Hassan, has vowed not to watch another minute of the World Cup after feeling his side “suffered an injustice” against Argentina as Lionel Messi inspired a miraculous comeback from two goals down.
Egypt took an early lead through Yasser Ibrahim and thought they had doubled their advantage early in the second half, only for Mostafa Ziko’s goal to be disallowed for a foul by Marwan Attia in the buildup. Ziko made it 2-0 soon after before Cristian Romero pulled one back for Argentina and Messi equalised, in the process scoring his eighth goal of the tournament and 21st in the World Cup.
Joy Machine and Vertical Gallery are excited to share their first collaborative exhibition, Wanderland by Collin van der Sluijs. This marks the artist’s sixth solo exhibition in Chicago and more than a decade in partnership with Vertical Gallery. It’s his first presentation at Joy Machine.
Wanderland comprises a new body of work developed during a two-year period. Spanning enormous mixed-media paintings, intimate drawings, and skate decks bearing the artist’s signature birds, the exhibition reflects both the momentous and mundane, particularly loss, grief, and the therapeutic powers of nature.
“Wanderland” (2026), mixed media on paper, framed
A portmanteau of wander and wonderland, the title evokes van der Sluijs’ continued devotion to imagining a vast, dreamlike ecosystem. For the past decade, he’s produced various bodies of work as a sort of world-building exercise, intuitively selecting a blend of oil paint, acrylic, watercolor, and more to render dynamic still lifes and portraits of figures subsumed by chaos. Wanderland continues in this vein, once again presenting hazy bouquets that allude to the artist’s Dutch heritage and a melange of symbols and markings referencing his background in street art. “Collin works in such a wide range of styles—like a modern twist on classical painting, with graffiti and illustration mixed in,” Patrick Hull, Vertical’s owner and curator, shares.
Each collection emerges through a lengthy process of trial and error, and often, van der Sluijs will work on a piece for years, even turning it around to face the wall periodically to provide a brief respite while in his studio. “I really need to make big mistakes and fight my way out of it,” he adds. In this way, cultivating wonder and an unceasing desire to explore his inner emotional and external landscapes is an essential part of the process. Wanderland is about “a walk to the visual world that you create around yourself, like wandering around. But it’s also like diving into the unknown.”
Following a collection of darker pieces made in the early years of the pandemic, Wanderland emerges with more levity and hope, albeit not without difficulty and grief. While working toward the exhibition, the artist broke his ankle, rendering it impossible for him to stand while painting larger canvases hanging on the wall. Instead, he had to sit, stretching himself across the horizontal surfaces and contending with a novel, challenging mode of making.
And despite his physical limitations, van der Sluijs also spent more time venturing outdoors during the last two years. Making small works on paper amid natural settings was a sort of balm in processing the recent death of a friend. “All those personal stories, they make the context of a show,” he adds.
“Floater #2” (2026), mixed media on canvas, 7 x 9.4 inches
To celebrate more than a decade of collaborations, Vertical Gallery published a book commemorating the occasions, titled Wanderland: 1991-2026. Its pages juxtapose the artist’s exploits as a painter, muralist, and graffiti writer with the more personal moments that define his roles as husband, son, father, and friend.
Wanderland runs from July 10 to August 22. An opening reception will be held from 6 to 8 p.m. on July 10. The artist will be present.
“White Line Sphinx Moth drawing” (2026), mixed media on paper, framed, 8.3 x 11.7 inches“Loose Lips Sink Ships” (2026), oil on canvas, 72 x 82 inches“Bird study #2” (2026), mixed media on paper, framed, 14.2 x 18.7 inches“Translated Watercolor XL #2” (2026), acrylic, ink, pencil, and oilsticks on canvas, 53 x 76 inches
An anonymous reader quotes a report from Reuters: Chinese startup DeepSeek is developing its own AI chip, according to three people familiar with the matter, a push that could reduce its reliance on Nvidia and Huawei chips, which it has depended on to train and run its globally popular models. The chip is designed for inference -- the stage of AI computing in which a trained model generates responses for users -- rather than for training new models, the sources said. If successful, DeepSeek's expansion into semiconductor development would mark a major strategic shift for a company widely hailed in China as the country's AI champion, potentially adding to challenges faced by Chinese tech giant Huawei.
JPMorgan, Bank of America, Wells Fargo, PNC, and other major banks have reportedly explored acquiring Fiserv's debit-card networks, STAR and Accel, in a move that could help them bypass federal caps on debit-card transaction fees. A law limits the fees big banks can charge merchants, but only if the transactions are routed through an outside network. There are no caps on these interchange fees over a bank-owned network, however. The Wall Street Journal reports: When Capital One Financial bought Discover Financial in a $50.6 billion deal, it got a network that cut out the need for a middleman in card transactions and allowed it to deal more directly with merchants. Now, big banks are looking on with envy because owning a network can mean exemption from a federal law that caps debit-card fees. Those fees collectively amount to billions of dollars each year across the industry, but banks have long complained the government-defined cap limits their ability to offer customers debit-card rewards and other services. Some have been exploring a small deal that could upend the rules, though they are worried about political backlash if they try.
Big banks including JPMorgan Chase, Bank of America, Wells Fargo and PNC Financial Services Group have in recent months held preliminary and tentative discussions about a deal to acquire a network owned by the financial-technology company Fiserv, according to people familiar with the matter. There is no certainty a deal will happen. Several of the banks that looked at the Fiserv network have already decided it would be unlikely for them to move forward, some of the people said. Some have privately expressed concern that such a deal could prompt backlash from lawmakers, regulators and merchants, the people added.
An action shot of a Eurasian Jay (Garrulus glandarius) perched alertly at the water's edge, while a second jay lands directly behind it with wings fully spread. Captured from a photo hide in Utrecht during late spring.
