pollinator pathmaker brings buzzing bees back to berlin with foliage-filled artworks

One will open early—and close early—in advance of the demonstrations. Everyone is monitoring the situation.

Showrunner Jonathan Glatzer wanted the tagline of his latest TV creation to be: “We’re so fucked.” He laughs. “Sadly it got rejected by the network. Hey, maybe I can use it for season two!” The show in question is The Audacity, his darkly comic drama about AI tech titans. Instead, it went with the more PG tagline “Move fast and break people” – a twist on “Move fast and break things”, the Facebook motto coined by Mark Zuckerberg. The Audacity promises to do for tech bros what Succession did for legacy media. Considering Glatzer is a former writer on Succession, that is no empty threat. This acerbic and all-too-timely Silicon Valley satire follows CEO Duncan Park (played by Billy Magnussen), the obscenely wealthy founder of a data analytics company. He’s a self-proclaimed “inventor of the future” who also happens to be a morally bankrupt man-baby. “Duncan is worth about half a billion,” says Glatzer. “Naturally, that’s not enough. He desperately wants to be a billionaire and ascend to what we call ‘God Mountain’. But he’s no God.”Like Succession, The Audacity’s scripts are liberally spiced with baroque swearing.

To receive Morning Links in your inbox every weekday, sign up for our Breakfast with ARTnews newsletter. Ahead of planned protests in Paris and calls to demonstrate at the Grand Palais, where Art Basel is held through Sunday, the fair would not confirm at this stage whether it will have to close over the weekend.

Bridget Jones author Helen Fielding has launched a comedy writing prize in the name of her most famous creation, aimed at unearthing funny new voices from the north of England. The Bridget Jones prize for northern comedy writing will go to the funniest self-contained, first-person prose of 1,000 words. The format echoes the anonymous diary columns in the Independent that first brought Bridget to readers in the mid-1990s. Fielding, who grew up in Yorkshire, wrote the original columns and four Bridget Jones novels, as well as co-writing the blockbuster film adaptations starring Renée Zellweger. She said Bridget’s humour was drawn from the people she grew up with: “laughing together at our mess-ups; bringing the fancy and pretentious down to earth”. “There are lots of famous northern comics,” she said. “But this prize is for the comic voices of people who aren’t famous: just living their lives being quietly hilarious.”Writers living in the north who have neither been published nor signed with an agent are eligible to enter.

Those thus far unaware of Shovel Dance Collective’s bracing approach to folk should probably note that their third album is not much interested in breaking newcomers in gently. Everything in Readiness kicks off with a three-song suite that lasts more than 10 minutes and takes you, via a series of dramatic sonic jump-cuts, from a grinding one-note drone to a reel that seems to split the difference between trad folk fiddle-playing and the punishing squall of the Velvet Underground’s Black Angel’s Death Song. It then leaps to Tally Ho! Hark Away!, which sets a hunting song first collected in the late 1940s over a blast of what might best be described as ecstatic noise. It’s genuinely hard to work out what instruments are involved in the clattering arrhythmic chaos behind the vocal – there’s definitely a heavily distorted guitar in the mix – but the effect is weirdly euphoric rather than claustrophobic: a kind of purgative release after the mounting weirdness of the preceding reel. The artwork for Shovel Dance Collective’s Everything in Readiness.