Dries Van Noten joins Venice’s new cultural guard - Art Basel

New BrunswickSince last April, Malley Industries said its U. S. business has shrunk by about 80 per cent. Ambulance producer pivots to Alberta, Quebec marketsRaechel Huizinga · CBC News · Posted: Sep 11, 2026 5:00 AM EDT | Last Updated: September 11Listen to this articleEstimated 4 minutesThe audio version of this article is generated by AI-based technology. Mispronunciations can occur. We are working with our partners to continually review and improve the results. New Brunswick-based Malley Industries unveiled its latest ambulance design in September, optimistic about attracting Canadian customers. (Pierre Fournier/CBC)Deji Ayoola’s brain has had no time for rest since the first shot was fired in the U. S.-Canada trade war. Over the past year, the engineer has had to be 10 steps ahead. Malley Industries, the New Brunswick-based ambulance manufacturer where he started working in 2022, was fast losing business in the United States. Trade lawyers couldn’t give solid answers about the future, about what to do. Breaking into an overseas market would be too challenging.

The sheep appeared in Lalanne’s U.S. museum debut 60 years ago.

One Sunday last year, the Cameroonian-Guadeloupean-French artist Roxane Mbanga was relaxing in bed when she received a message that made her sit up. It was about working on an art history project. Growing up in Paris, she had been a regular at Maasai Mara, the now defunct restaurant owned by her father, where Africans in the diaspora, including the artists whom he helped organise exhibitions, convened to eat and chat. Thus the concept of a book, attempting for the first time to comprehensively compile and document key players in Cameroon’s vast visual art history, made obvious sense to her. “It’s a magical reconnaissance, being recognised by my peers and being in the same book as people I look up to,” says the 30-year-old artist. “This idea of creating spaces, as with the book, is incredibly important because it allows us to build from there and leave traces for people that will come after. I really lacked that growing up … spaces like books, podcasts or whatever, where I could really see people that resemble me, that do things similar to me.”The first African woman to curate the Venice Biennale … Koyo Kouoh.

This documentary is a collaboration between Justin Hardy and Dominic Hardy, two of film director Robin Hardy’s children (he had seven in all, and was married five times), and it delves into the legacy of both their father and his most enduring work, 1973 folk-horror classic The Wicker Man. The latter still stands today, for all its imperfections and peculiarities, as one of the most unsettling and paradoxically influential British films of all time, despite being a box-office flop on its initial release. This latest work is partly an account of The Wicker Man’s troubled production – a story that’s been told in books and journalism a fair few times already – and its strange reemergence as a cult movie-cum-fetish object, and partly a therapeutic exercise for the brothers themselves, full of raw feeling that’s sometimes painful to watch. However, while the brothers’ willingness to share their pain remains admirable, their film feels hampered by omissions and silences.