Ruminate, Camosun College Visual Arts’ 2026 Graduating Exhibition - Camosun College

Ibrahim Mahama has dug through the ruins of post-colonial Ghana, sorted through the ashes of its ancient history, picked through the industrial detritus, the corporate waste, the piles of rubbish, and found something pretty unique: hope. Ibrahim Mahama, pictured at the Barbican Centre, London, in 2025. Photograph: Christian Cassiel/Barbican CentreSit on one of the Asante stools in his circular Parliament of Ghosts and you can almost feel a new future being worked out right in front of you. It’s the first installation in this huge exhibition at the Fondation Cartier in Paris, and it sums Mahama up pretty neatly. He’s looking at the collapse of the Ghanaian government in 1966, the way the hope of the post-colonial project was crushed in a military coup, and he’s looking at ancient Ghanaian history, at the empires that fell centuries ago and the way colonialism tore them to shreds. But he’s not lamenting any of them. He’s not mourning. Instead, he’s reclaiming them, asking how things can be rebuilt, how we can move forwards by learning from the past. And he does it over and over. In 2024 he bought an old bottle factory – a symbol of industry and its collapse.

Streaming services, notable musicians and fans are confronting the growing presence of AI-generated music and drawing lines in the sand. On Tuesday, Spotify announced it had removed about 50m songs considered AI slop from its recommendations to users over the past year. “Our editors hold the same standard and don’t program content identified as slop or spam,” a statement from the company read. Spotify requires “AI persona” badges on artist profiles that don’t represent a real human being, but it does not require individual songs generated by AI to be labeled. Other streaming services have taken more stringent stances. Though it is cracking down on slop tracks, Spotify is far from AI-shy. The company allows users to create playlists with generative AI and has promised a tool for making AI-generated remixes and cover songs. Unable to ignore the tide, even early AI boosters like the singer and producer Grimes, former paramour of Elon Musk and mother to three of his 14 children, have declared their limits on allowable amounts of AI. She and other musicians say they are open to AI-generated music but wary. Fans, by contrast, have little tolerance for it.

Since soaring on screen 20 years ago, this Disney Channel favourite has cemented itself as a squeaky clean, painstakingly earnest but no less beloved descendant of Grease. Like Danny and Sandy, Troy Bolton and Gabriella Montez share a holiday romance and wind up at school together the following term, where the social pecking order initially keeps them apart. Driven by a shared love of singing, they defy conventions to end up together. This new stage production, first seen at Salford’s Lowry, is directed by Hope Mill theatre founders Joseph Houston and William Whelton. No, it can’t escape the limitations of the story’s spectacularly two-dimensional characters, who are siloed into the camps of jock, brainiac or drama kid, and whose stock traits are indulged in the book by David Simpatico, but it’s bright and buzzy nonetheless. Bright and buzzy … Tobias Turley and Leonor Correia in High School Musical.

in this chapter, we journeyed from underground nightclubs to cinematic illusions, wearable architectures, and sculptural mirrors, exploring how spectacle can challenge our perceptions and experience the world. Iñaki Laguardia October 21, 2026 8 min prefer designboom on googleWHAT HAPPENS WHEN WE STOP JUST WATCHING? When Sofia Lekka Angelopoulou opened SPECTATOR AND SPECTACLE, she posed a question that challenged our relationship with the world around us: ‘What if we are not overwhelmed by spectacle, but starved of it?’ In her opening editorial, The Haçienda Must Be Built, she traced the history of the night, from radical discotheques to the increasingly measured and optimized rhythms of contemporary life, asking what happens when experiences become predictable and images lose their capacity to surprise us. Over the weeks that followed, the chapter explored how architecture, art, fashion, and design might recover that sense of wonder. Again and again, spectacle emerged not simply as something to observe, but as an experience capable of unsettling our habits, changing our behavior, and dissolving the boundary between those who watch and those who perform.