Never made a zine? Haven’t made one since 1999? We made one, and so can you.

C’est un carton ! Minecraft, le film, qui adapte au cinéma le célèbre jeu vidéo, a débarqué ce week-end dans le salles américaines. A la clé, le meilleur démarrage de l’année, avec des recettes estimées à 157 millions de dollars aux USA.

“When We Cease To Understand The World (Grothendieck’s Ghost)”(2025), oil and oil pastel on linen, 180 x 160 centimeters. All images courtesy of Damian Griffiths and BEERS London, shared with permission Literary Citations Abound in Andrew Salgado’s Vibrantly Layered Portraits June 4, 2025 Art Grace Ebert A new body of work by Andrew Salgado (previously) unfurls from a central premise: we are the books we read. The artist, who works between London and New Brunswick, Canada, is literarily insatiable and considers every unread tome an opportunity of “infinite possibility.” At BEERS London, Salgado’s Self-Portrait as a Stack of Books presents a series of paintings that open like chapters and together, build a larger narrative. “My Year Of Rest And Relaxation” directly references Ottessa Moshfegh’s bleary novel of the same name and depicts a young protagonist inert and detached. There’s also “Véra (Please Come Over, You’re Always Welcome),” which portrays a resolute Véra Nabokov writing what might be one of her since destroyed letters. “Véra (Please Come Over, You’re Always Welcome)” (2025), oil and oil pastel on linen, 76 x 61 centimeters Salgado is continually interested in citation and the ways that memories and experiences layer atop and mold one another. Many of the authors he’s drawn to—Virgina Woolf, Jorge Luis Borges, and Margaret Atwood among them— “are influenced by art. By music and painting. They write about it all the time. The word is ekphrasis,” he adds. “Nabokov lists over 150 paintings in his collected works. So why shouldn’t the inverse also be true?” Intuitive marks of oil paint and pastel characterize Salgado’s works and seem to build up over time. Irregular stripes and circles add greater depth and dimension to patches of color delineating a dress or facial feature, leaving each scene with a certain indeterminacy. Allowing for interpretation and an array of personal references is essential to the artist’s thinking: “It’s ready for the taking. And whatever you take from it—from the books, or the paintings, or the ideas within—it’s all right. It’s all correct. There are no wrong answers,” he says. Self-Portrait as a Stack of Books is on view through June 28. Find more on Salgado’s website and Instagram. “My Year Of Rest And Relaxation” (2025), oil and oil pastel on linen, 90 x 100 centimeters “St. Augustine’s Confessions” (2025), oil and oil pastel on linen, 160 x 125 centimeters “Hotel Du Lac” (2025), oil and oil pastel on linen, 152 x 117 centimeters “Meditations” (Sayings, Speeches, Notes) (2025), oil and oil pastel on linen, 150 x 120 centimeters “The Last Evening On Earth” (2025), oil and oil pastel on linen, 125 x 100 centimeters “Beware of Pity” (2025), oil and oil pastel on linen, 80 x 75 centimeters “The Aleph & Other Stories” (2025), oil and oil pastel on linen, 216 x 164 centimeters Next article

Developing creative intuition, leaning into courage, and resisting editing away our unique voice.I pasted an Oscar Wilde quote into Notion the other day. As soon as I did, the AI symbol popped up with the “improve writing” suggestion.A quote by Oscar WildeI didn’t click it, but it made me think…If Oscar Wilde was alive today, would he too have been lured to change his words with AI? Would he have trusted AI more than his creative intuition?AI would most likely have edited Wilde’s voice by removing “unnecessary” words and simplifying sentences. But would it have been an improvement? If his work is no longer in his voice, how can we say it’s better?Our authentic voice is our workAs creatives, our authentic voice is our work. Whether we’re writers, singers, designers, painters, or sculptors.I’ve realized lately that I wish for us all to become less concerned with being perfect and more concerned with developing our unique voice and following our own intuition. When we read poetry, we learn that a sentence might not be perfectly correct but it speaks directly to our hearts. It breaks grammatical rules but it’s also able to break us open in ways we could only imagine.With our computers constantly prompting us to change and “improve” our writing, thinking, and making, we have to ensure we don’t lose our unique expression. We must make sure that we don’t lose touch with our creative intuition, that we continue to lean into courage, and that we don’t edit away what makes our work distinctly ours.DesignShift: From artificial to authentic1. Keep developing your own voiceWhen I use AI for my writing, I often find myself questioning if the AI’s version is really better than my own. I’m frequently confused about “why” it changed something, and even when I ask about the rationale, I find the explanation isn’t that convincing.Some would tell me that I’m just not prompting AI well enough to get the best result, but I keep asking myself what this tool is in service of.However, I’ve noticed how our tools encourage perfection, and doubt can start to creep in when AI suggests one thing and our intuition tells us something different. This happens to me on days when I show up to work with self-doubt — days when I’m deep in uncertainty about my own abilities. On those days, I trust AI more, and the prompt to change my words makes my swaying confidence even more rocky.On days like these, I remind myself of poetry. Through poetry, we learn that a sentence might not be perfectly correct but it speaks directly to our hearts. It breaks grammatical rules but it’s also able to break us open in ways we could only imagine. One such powerful voice is Maya Angelou, whose words “just do right” have stayed with me.In her wisdom, she says:“You know what’s right. Just do right. You don’t really have to ask anybody. The truth is, right may not be expedient, it may not be profitable, but it will satisfy… your soul.”Image from https://bookstr.com/article/10-writing-quotes-from-maya-angelou-to-inspire-you/These words move with rhythm, but they also remind us that we DO know what’s right. No one knows our voice better than us. And that is what people want to hear. We don’t always have to ask someone else or ChatGPT for a better way to say something. Trusting our own voice makes all the difference.The same way that a design that breaks the rules sometimes becomes more impactful, I remind myself that embracing my unique voice will take me further than a perfectly crafted bullet-style post powered by a robot.2. The courage to be seenThe other day, I read a quote that said “creativity is the courage to be seen.” While writing this post, this quote kept surfacing in my mind. As creatives, it takes courage to show up as our unique selves. It takes courage to show both the good and the bad. It takes courage to be all that we are. The reward for showing up vulnerably and authentically is connection.How we connect to topics. To someone’s story. To each other. When someone speaks from their heart, unedited and unfiltered, it helps us feel something.Connection happens when someone truly sees us for who we are and embraces all of it. That is true connection.There’s a difference between the desire to be seen and the courage to be seen. The desire is often rooted in external validation — wanting to be liked and wanted. Much of our online world is crafted this way. We edit (with or without AI) in order to be liked and followed. We make sure that our voice matches our brand and we craft one-minute elevator pitches to ensure people understand exactly who we are and what we have to offer.However, the courage that helps us connect to others lies beyond the poses and the polish. The courage to be seen is about showing up as our full selves.3. Connection happens in the cracksConnections and feelings are found in the cracks. They are discovered between the lines. In the awkward pauses and the unpolished thoughts. They exist in unedited, real expressions rather than perfectly written, bullet-pointed lists generated by a robot.As Joshua Schrei said on the Emerald podcast:“Art dies when culture decides that there is a certain way you have to say certain things. Then you don’t have art. You have a press release.”Poetry, art, and also the human experience thrive in its willingness to not make complete sense. For example, the raw, uninhibited expressions of artists like Jean-Michel Basquiat show us that perfection isn’t necessary for profound impact. When we share our authentic selves, we invite others to do the same. We often think that the world expects and craves perfection. We’re taught rules… but the human experience is flawed. The cracks make us able to connect with others.Creativity is about connection, and connections are formed in the cracks. When someone shows their weakness or vulnerability, we get permission to show ours.At the heart of it all are feelings. Creative work is about feelings, and even though ChatGPT can act empathetic, it’s not the same as real feelings. Because real connection is built through brokenness. It’s in the cracks that connections are formed.In times of robotsIf Oscar Wilde lived today, would AI have given him prompts? Would AI suggest “improvements” to the works of literary and artistic icons? Would Midjourney have offered to enhance Jean-Michel Basquiat’s expressive style?Would these creative icons have been lured to edit their unique expression to appeal to the masses at the creative direction of a robot? My intuition tells me that they would have resisted the prompts and leaned into their uniqueness even more — and that is what I hope for all creatives today. With our computers constantly prompting us to change and “improve” our own writing, thinking, and making, we have to ensure we don’t lose our unique expression. We must make sure that we don’t lose touch with our creative intuition and that we don’t edit away the uniqueness and the cracks that breed connections.In times of robots, I hope we can lean into our humanness even more. In times of robots, I hope we will remind ourselves and each other that our unique voices matter. In times of robots, I hope you will connect through your cracks without editing your uniqueness.Links and resources:Maya Angelou: Just do right (video)Trickster Jumps Sides: Disruption and the Anatomy of Culture (Podcast)DesignShifts: a better future for and through design (website)The Power of Poetry | Shayna Castano | TEDxLSSC (TED Talk)Burning Questions — James Victore is an irreverent prophet for the creative industries (article)From artificial to authentic was originally published in UX Collective on Medium, where people are continuing the conversation by highlighting and responding to this story.

The Canada Council for the Arts is recognizing the potential of emerging architects and the contribution of practicing architects by awarding the following four prizes. The Canada Council contributes to the creative and diverse arts and literary scene, and supports their presence across Canada and around the world. The winners include the following: Prix de Rome in Architecture — Professional The Prix de Rome in Architecture – Professional is awarded to a young practitioner of architecture or an architectural firm that has completed their first built works and has demonstrated exceptional artistic potential. With this prize, the recipient may travel abroad to develop their skills and their creative practice, and to strengthen their position in the international architecture world. D’Arcy Jones ArchitectsPhoto: Shane Hauser This year’s winner is D’Arcy Jones Architects. D’Arcy Jones is the principal of D’Arcy Jones Architects (DJA), a Vancouver practice recognized for design excellence. DJA’s responses to contemporary conditions have earned awards and publications nationally and internationally. Their work focuses on arts, residential and commercial projects. Previous practice honours include an Architectural Institute of British Columbia Emerging Firm Award, a Royal Architectural Institute of Canada Emerging Architectural Practice Award and the Ronald J. Thom Award for Early Design Achievement from the Canada Council for the Arts. Ronald J. Thom Award for Early Design Achievement The Ronald J. Thom Award for Early Design Achievement is given to a practitioner of architecture or an architectural firm. The successful candidate must be in the early stages of a career or practice and must demonstrate both outstanding creative talent and exceptional potential in architectural design. Odami. Photo: Arash Moallemi The latest winner, Odami, is an award-winning architecture and design studio that aims to “converge the pragmatic and the expressive, the subtle and the striking, the familiar and the unexpected.” Led by Arancha González Bernardo, a Spanish architect and Michael Fohring, a Canadian designer, the practice represents a merging of design values and histories, a process deepened by the contemporary multiculturalism of the city in which Odami lives and works. In embracing difference and purposely working between modes, perspectives and dichotomies, they’re in search of a fertile meeting ground—a space of conference and connection that gives rise to inventive outcomes.     Prix de Rome in Architecture — Emerging Practitioners Daniel Wong. Photo: Kabir Olatinwo The Prix de Rome in Architecture – Emerging Practitioners is awarded to a recent graduate from a Canadian architectural school who demonstrates exceptional potential in architectural design. With this prize, the recipient may visit architectural buildings and carry out an internship at an international architectural firm. The latest winner, Daniel Wong, is currently an intern architect at AAmp Studio, in Toronto. He holds a Bachelor of Architectural Science from the British Columbia Institute of Technology (BCIT) and a Master of Architecture from the University of Toronto. During his studies, he received several awards including the Barry W. Sampson Scholarship and the John and Myrna Daniels Foundation Opportunity Award. He also received the Kuwabara-Jackman Architecture Thesis Gold Medal for his research on architectural maintenance as a sustainable alternative for the built environment.   J.B.C. Watkins Award: Architecture Fabio Lima. Photo: Yixin Cao The J.B.C. Watkins Fellowship: Architecture is offered to an individual who has completed a bachelor’s or master’s degree in architecture in Canada and who will pursue postgraduate studies in another country, ideally Denmark, Norway, Sweden or Iceland. The latest winner, Fabio Lima is a graduate student and research fellow at Pratt Institute, in New York City, USA. His work explores the social archaeology of queer spaces by mobilizing the tools of historic preservation. Lima studied architecture at the Université de Montréal, in Quebec, and his work has been supported by the Royal Architectural Institute of Canada and the Royal Canadian Academy of Arts.           The post Canada Council announces Prix de Rome and J.B.C. Watkins Award winners appeared first on Canadian Architect.

You Can Now Visit the Small House Where Charlotte, Emily and Anne Brontë Were Born The newly renovated Brontë Birthplace in Bradford, England, was the three sisters’ home until 1820, when the family moved to a nearby parsonage The Brontë children were born near this fireplace, pictured mid-renovation. Matt Gibbons / Brontë Birthplace In the early 19th century, three sisters were born in a small house in northern England: Charlotte, Emily and Anne Brontë. Each one would grow up to become a pivotal figure in English literature, with Charlotte writing Jane Eyre (1847), Emily writing Wuthering Heights (1847) and Anne writing The Tenant of Wildfell Hall (1848). Now, that house in Bradford, England, where they were born has been restored and reopened to the public as a museum—and soon-to-be hotel. On May 15, Queen Camilla visited the village of Thornton to open the Brontë Birthplace in an official ceremony. After a year and a half of fundraising and renovations, the house is now a functioning educational center. Come July, its bedrooms will also be open to overnight guests, according to the Guardian’s David Barnett. The Brontë Birthplace pictured in 2008 Tim Green via Wikimedia Commons under CC BY 2.0 “This house is no longer just a place of literary history,” says Katharine Barnett, chair of the Brontë Birthplace, in a statement from the museum. “It is a living, breathing space filled with creativity, education and community pride.” The novelists’ parents were Patrick and Maria Brontë, an Irish clergyman and a Cornish gentlewoman who married in 1812. They had two daughters, Maria and Elizabeth, before moving to the Thornton house in 1815. Charlotte was born in 1816, Emily in 1818 and Anne in 1820. A brother, Branwell, was also born in 1817. When Anne was just three months old, Patrick was appointed the reverend of a nearby church, and the family moved to the Haworth parsonage. The two eldest children died soon after, but the younger four children survived. As they grew older, they also thrived as playmates, inventing “invented imaginary worlds together and [writing] about them in tiny books,” per the Brontë Parsonage Museum. Queen Camilla and Christa Ackroyd touring the Brontë Birthplace on May 15, 2025 Matt Gibbons / Brontë Birthplace By the mid-19th century, the three sisters were publishing novels under the pseudonyms Currer, Ellis and Acton Bell. Jane Eyre and Wuthering Heights would become two of the most renowned books ever written in English. After the family left the sisters’ birthplace, the building was repurposed several times. It has served as a butcher’s shop and a cafe, which shuttered during the pandemic, according to the Guardian. With the building up for grabs, a group of advocates—including journalist Christa Ackroyd and Brontë relative Nigel West—raised the £650,000 (more than $700,000) needed to purchase and renovate it. Every four years, the United Kingdom chooses a “City of Culture,” and this year’s selection is Bradford. Camilla opened the Brontë Birthplace as part of her honorary visit to the chosen city. A crowd gathered to welcome her. As Tom Golesworthy, a resident of Leeds who attended the opening ceremony, tells the Telegraph & Argus’ Brad Deas, “It makes you proud to be British.”The Haworth parsonage already attracts nearly one million visitors each year, per the Guardian. The Brontë Birthplace team hopes that those visitors will now add the Thornton house, which is only six miles away, to their itineraries. When the Brontës lived in the home, all six children likely slept in the house’s largest upstairs bedroom, while their parents slept next door, reports the Guardian. Both rooms, as well as a third that was added to the house later, will be available for overnight stays. “This will be the only place in the world where you can sleep in the same room that the Brontës slept in,” West tells the Guardian. Get the latest stories in your inbox every weekday.