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THE UK has some incredible beach lidos, but this one in the south of England is now award-winning.

Just inland beyond Saltdean Beach in Brighton is its beautiful art deco pool that previously underwent a revamp – and has just won a prestigious prize.

Follow The Sun’s award-winning travel team on Instagram and Tiktok for top holiday tips and inspiration @thesuntravel.

Saltdean Lido has been open since 1938 to keen swimmers and has undergone significant upgrades throughout the years.

But in 2010, Saltdean Lido began a major revamp, preserving original features, restoring the building and upgrading the café, library, ballroom and an exercise space.

It cost an estimated £11million which was paid for by donations and National Lottery funding.

GO SEA IT

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LOOK OUT

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After 14 years, it was finally completed in 2024 and now, it is one of six winners in the South East division of the 2026 Royal Institute of British Architects (RIBA) Awards.

The prestigious architecture award celebrates design innovation and social impact of buildings around the country.

Along with the other winners, Saltdean Lido was praised as being “exceptional.”

Saltdean Lido is a 40 metre outdoor heated pool and remains open all year, even during the winter.

It has a kids’ splash pool and grassy area making it a popular spot in the summer months.

In the lido building is a café which recently rebranded as the Reading Room, which serves up snacks, toasties and drinks.

On-site is also a gym, as well as saunas and plunge pools designed to increase circulation and boost immune systems.

Classes are held at the lido too, from yoga to Pilates, tai chi and dance – it’s also home to a public library.

There’s a huge ballroom too where events are held and it can even be hired out for weddings.

Events take place throughout the year; coming up in a few months is ‘Dogtember’, which is dubbed the ‘biggest dog swimming event in the UK’.

It runs for four weekends where dogs and humans alike will take to the pool in 90-minute sessions.

Built in the 1930s, the lido was considered such an innovative design of its time.

However, it was forced to close just two years later due to the war and remained closed for the next 19 years.

It was even nearly bought by Butlins in 1958 when it was derelict but this plan was scrapped.

The lido reopened in 1964 after being bought by the Brighton Town Council.

At this year’s Venice Biennale, the story isn’t just about what’s on display—but what’s missing. Withdrawn countries, postponed ceremonies, and a fractured jury have turned the world’s oldest art exhibition into a stage for geopolitical tension.
Al Jazeera’s Karly Abou Samra explains.

A MUCH-LOVED lido nestled in the UK countryside is reopening this weekend. 

The Art Deco attraction, which features a “lagoon” pool and slides, first opened in 1935 as part of the Silver Jubilee celebrations for King George V.

At the height of summer, Ilkley Lido, which was threatened with closure in 2024, attracts up to 5,000 people a day and is now Grade II listed.

Inside is a large swimming pool, with a shallow end for kids as well as a slide. It is surrounded by a grassy area and has views across Ilkley Moor.

An Art Deco cafe remains unchanged at the site, which also includes changing rooms, tennis courts and a picnic area.

It will reopen on Saturday, May 9, from 10am to 4pm. 

MAKE A SPLASH

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From Monday to Friday it will be open from 7.30am to 8.30am and 2pm to 6pm, and open from 10am to 2pm every Sunday.

A full summer programme, with extended opening times, will come into effect on May 23.

Adult tickets cost £7.25 and £3.75 for children.

The lido has hosted the Ilkley Triathlon since the early 1990s – one of the longest running sprint events in the country.

There are, however, no plans as yet for open air events at the attraction this year.

As previously reported, the Ilkley Pool and Lido Community Group said the attraction runs at a £280,000 loss every year.

Designers Jeanine Hattas Wilson and Julie Hattas Kennedy’s magical transformation of a 4-foot-by-4-foot storage closet at this year’s Pasadena Showcase House of Design almost feels like a metaphor for design showcases themselves: not quite real, but pure fantasy.

“It was inspired by our dad, who used to read to us in Woodstock, Ill.,” Wilson says of their immersive storybook escape, which features a delightful hand-painted mural on the walls and tiny lanterns that, when touched, offer a narrated fairy tale. “We wanted to create a special, intimate space for kids.”

Showhouses are always extravagant, and this year’s event takes place inside the 8,000-square-foot former home of Clara Baldwin Stocker, daughter of land investor and racehorse breeder Elias J. “Lucky” Baldwin. Like her father, Stocker was known for her colorful personality and love of lavish things, including parties that lasted for days. (Baldwin Stocker’s 1929 obituary noted that out of her $10-million estate, about $1.5 million was jewelry, “the collection and wearing of which was her hobby.”)

Many of the 30 revamped interior and exterior spaces in the 1907 shingle-style home include details Baldwin Stocker would have loved. The Midnight Garden Dining Room by the House of Pontovi, for example, has an Italian Murano glass chandelier, feminine Art Deco-style swivel chairs with flapper-style fringe and a gold-leaf ceiling that has replaced Calico Corners fabric. The Entertainment Room by Studio Joshua features statement lighting by Los Angeles designer Jason Koharik, an 11 Ravens custom billiards table and a Champagne cooler built into the marble bar.

And the Bloom Lounge by the Art of Room Design is so large that it can accommodate several different seating areas, a game table and a hidden liquor cabinet — another nod to Baldwin Stocker, who was also known as “the Diamond Princess.”

It’s hard to decide what stands out more at the Baldwin Oaks Estate in Arcadia: the layered interiors that look ready for a shelter magazine, or the smaller spaces, like the closets, mudroom and hidden powder rooms that have been transformed into something special.

Here are a few examples of what to expect at the event, which supports youth music programs throughout Los Angeles County.

The Enchanted Room by Hattas Studios

Identical twins Hattas Wilson and Hattas Kennedy of Hattas Studios transformed a small 4-by-4-foot storage closet into a magical forest with their hand-painted mural depicting characters from stories like “Cinderella,” “The Little Mermaid” and “The Frog Prince.” A young Clara Baldwin appears with her dog, Lucky. You can touch the tiny lanterns to hear a story in each scene or simply curl up in the soft green fuzzy chair, close the velvet curtains and let your imagination wander.

Laundry and Craft Room by Arterberry Cooke Architecture

Architect Barrett Cooke turned laundry into a pleasure in this beautiful room, which doubles as a craft room outfitted with new rose-colored cabinets, playful circular Fireclay Tile, quartzite countertops and stunning views of the San Gabriel Mountains. “I straddled making it utilitarian with how beautiful it can be,” Cooke said of the local artists represented, including ceramics by Jen King, stained glass by Molly Miller, oil paintings by Lareina Holsopple and a print by local artist and Jungalow designer Justina Blakeney. “The art ties it all together.”

The vault in the Family Parlor Room by Jamie Loren Home

The family room is the only space with a television, but with a mah-jongg table, the TV hardly seems necessary. “We wanted to create a room where the family can congregate,” said designer Jamie Loren, describing the cozy parlor painted in the color Viridian Odyssey by Dunn-Edwards Paints. She also turned what used to be a gun closet into a “vault” filled with family heirlooms, including a typewriter, perfume, photos, jewelry and a flask. “This is an ode to Clara,” she said.

Powder Room by Rebecca J. Hansen Design Studio

Details make all the difference in the small powder room by Rebecca J. Hansen, who explains that both the room and the nearby vestibule are focused on mixing patterns while keeping a consistent color palette. Hansen chose patterned terra-cotta tile from Foothill Tile & Stone Co. in Pasadena for the walls, and just outside, she used wallpaper from House of Hackney with mythical animals. Brass hardware from Corston Architectural Detail, chalk pastels and bold wood trim painted a marigold color brought everything together. “It feels like I’m in a castle in England,” she said.

The second floor landing by Blue Brick Design

Designer Lara Hovanessian has transformed the foyer walls of both the first and second floors into a striking display for local artists Blakeney, Susanna Speirs Ali and Lareina Holsopple. The spaces feature the newly released Huntington Collection wall covering by Morris & Co. in the iconic Strawberry Thief motif, pink ceilings and Alberto Giacometti-style lighting from Visual Comfort.

The Mudroom by Gex Designs

Inspired by the shingles of the 1907 home, Noelle Gex Djokovich, known for last year’s playful flower-cutting room, has reimagined this space with custom cabinets, patterned floors and charming details such as a dog bed, a Lewis & Wood fabric skirt and a rag rug from Nickey Kehoe. “Adding layers to a small room makes you feel good when you come home,” she said.

The Magnolia Room by Cordrey Collection

Designer Steven Cordrey says the Magnolia wallpaper reflects his Southern roots and the Phillip Jeffries grasscloth on the walls is practical (“It’s easy to clean,” Cordrey says). He also likes to bring the outdoors in, pointing to the views of the estate’s grand oaks and pool from the second-floor bedroom. There’s a hidden touch too: Rock Zehler’s stylish dressing room, inspired by Art Deco and the 1970s, has a secret closet tucked behind a pocket door.

OLIVIA DEAN is preparing to pull out the big guns for the follow-up to her year of triumph — by enlisting the help of hitmaker extraordinaire Nile Rodgers.

She’s become one of the UK’s favourite musicians thanks to the runaway success of her album The Art Of Loving.

Now I’m told Chic great Nile is keen to work with Olivia and personally reached out to her.

Their teams are looking for space in the schedules to go into the studio together.

A source said: “Nile has his finger on the pulse when it comes to music and thinks Olivia is just amazing.

“He was actually aware of her before her album dropped and is really keen to get in the studio with her.

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“She really does have the world at her feet and is pretty honoured that such a star wants to work with her.”

Nile has written, produced and performed on albums totalling more than 750million sales.

He has worked on tracks including David Bowie’s Let’s Dance, Duran Duran’s The Reflex and Like A Virgin by Madonna.

More recently, he has contributed to Beyonce’s albums Renaissance and Cowboy Carter, and Coldplay’s tenth album Moon Music.

But Olivia doesn’t have loads of time in her diary right now, having kicked off a debut arena tour in Glasgow last Wednesday.

She has shows in London this week and will stay on the road across Europe and North America until the end of August, before jetting Down Under in October.

Released last September, The Art Of Loving has turned her into a global star, spawning the singles Man I Need, So Easy (To Fall In Love), A Couple Minutes and Let Alone The One You Love.

She proved to have the Midas touch, because after teaming up with Sam Fender on a version of his song Rein Me In, it spent eight weeks at No1 — and is on course to return there this Friday.

Olivia has also achieved career milestones including performing on Glastonbury’s Pyramid Stage in 2024.

On how to build her career, Olivia previously said: “Make an album, play Jools Holland and play the Pyramid Stage.

“I’ve done them now, I need to figure out some new goals.”

With Nile by her side, I’m sure Olivia will continue to dominate.

MIS-TEEQ confirmed my story that they’re reuniting to celebrate the 25th anniversary of their debut album, Lickin’ On Both Sides.

I revealed in January that Alesha Dixon, Sabrina Washington and Su-Elise Nash were discussing getting back together for a one-off performance.

And now Mis-Teeq’s Instagram page has kicked back into action, with a video showing their performances from 2001 – when the record came out.

The biography on their account reads: “25 Years. One Legacy.”

Watch this space.

COOPER: MY SLIM PICKIN’

COUNTRY singer Cooper Alan wants to do the unthinkable and drag Eminem into the world of cowboy music.

In an exclusive chat with Bizarre, the TikTok sensation – who has racked up 11.5million followers – revealed that the Slim Shady rapper tops his dream collaboration list.

Cooper said: “Eminem has always been my favourite. It would probably never happen, but that’d be really cool.

“Eminem on a country song, I think that would be crazy.”

He’s also got another surprise duet in mind, this time with with Scottish brothers The Proclaimers.

He added: “We’ve been covering their 500 Miles as our encore, so we’ll throw their hat in the ring too. Dream collab, The Proclaimers.”

I caught Cooper live in London last week on his To The Pub Tour, and the show was absolute carnage – in the best way possible.

The singer is wrapping up his first UK shows in Glasgow tomorrow, following the release of latest album Winston-Salem.

The New Normal singer had fans battling it out in a beer-chugging contest before pouring pints straight into the front row from the stage.

Laughing about the stunt, he said: “You’d think I’d be better at pouring the beer.

“But it comes out too fast, it goes all over their face.”

After testing their drinking skills, he was full of praise for our crowds.

Cooper said: “I was impressed with the British drinking ability, especially on a Tuesday night.”

That’s those Americans told.

If you want proper drinkers, come to Britain.

MEGAN DITCHES ‘CHEATER’

MEGAN THEE STALLION has broken up with boyfriend Klay Thompson after accusing him of cheating on her.

In a statement confirming her split from the NBA basketball player, she said: “I’ve made the decision to end my relationship with Klay.

“Trust, fidelity and respect are non-negotiable for me in a relationship.

“When those values are compromised, there’s no real path forward.

“I’m taking time to prioritise myself.”

The WAP rapper was with Klay – who’s yet to address the claims – for just under a year.

On Instagram she wrote: “Cheating, had me around your family playing house.

“Got ‘cold feet’. Holding you down through all your HORRIBLE mood swings and treatment of me during basketball season  . . .  now you don’t know if you can be ‘monogamous’???”

FOO FIGHTERS celebrated the release of their album Your Favorite Toy with a launch party in London, then performed two new tracks on Saturday Night Live.

But it looks like the band, above, will be prevented from scoring their seventh No1 album, as Noah Kahan’s new record The Great Divide has sold three times more in the UK since they were both released on Friday.

MADGE BASQUES IN GLORY

SHE might be 67, but it’s clear Madonna can still party hard as she leaves a nightclub in bridal lingerie at 2am yesterday.

Madge, in shades and knee-high boots, hosted a bash at The Abbey in West Hollywood, where she played new track I Feel So Free and also premiered an upcoming song, believed to be called Freedom.

That could well be her third track with that title.

She recorded one for her 1994 Bedtime Stories album, though it didn’t make the cut at the time, and made another during sessions in 2014 and 2015, which wasn’t officially released but did leak online.

There was some chaos at the Los Angeles nightspot as fans grappled to get close to the superstar, who was standing behind the DJ decks.

Punters were pushing and shoving, with one woman pouring her drink over a man’s head.

Celeb fans Addison Rae and Julia Fox were also there.

Let’s hope they didn’t have soggy bonces.

BOY GEORGE FACES UP TO EUROVISION

BOY GEORGE is all set to make his Eurovision debut next month – but it sounds like he’s put less thought into his vocals than how he will react when the scores are revealed.

The singer is featuring on San Marino’s entry Superstar, by Senhit.

He said in an exclusive chat at the London Eurovision Party: “I’ve been to so many awards shows where I’ve been nominated, so I will be able to deal with nerves when it comes to the points.

“You have to learn that face where you’re like, ‘I’m so happy for everyone else’.

“But I’ll be so in it. I think Senhit will be more nervous than me.

“I won’t be nervous on the night, not really. There will be nervous energy and excitement.”

The Culture Club frontman joked he better not get stage fright, adding: “Probably on the night, I’ll be like, ‘Argh, this is huge.

“What if I forget to say the right words?’. I won’t have a lot to do, but sometimes not having much to do can be worse. But I think I’ll be fine.”

He has high hopes that San Marino can beat the UK entry Eins, Zwei, Drei by Look Mum No Computer.

George added: “I’d love us to win. San Marino is a small country. Ireland is not doing Eurovision this year so, they can vote for me as I’m Irish.”

THE ROLLING STONES are having fun with the promo for their new album Foreign Tongues.

They have turned their website into a CCTV geek’s heaven with ten cameras showing them at work.

Producer Andrew Watt, who worked on their last No1 album Hackney Diamonds, features in the videos, and helped shape the ten album tracks.

Insiders said there is a top-secret – and random – collab on the new record, out later this year. I’m told no one would ever guess.

SYDNEY CENTRE STAGE

HONKY tonkin’ Sydney Sweeny squeezed into this tiny corset dress to enjoy the world’s largest country music festival.

She was spotted in the crowd during the Stagecoach event in California.

The actress, who seemed to take inspiration from Madonna’s latest corset look, was seen on top of boyfriend Scooter Braun’s shoulders as they watched Ella Langley perform on Friday evening.

She was then back on Saturday for day two and got on the mic herself, inset.

Her lingerie brand Syrn hosted a pop-up where she belted out Sweet Caroline on karaoke and was joined by showbiz pals Diplo and Lance Bass.

Perhaps a music career beckons next . 

At 21, he was the whiz-kid poll taker for George McGovern, an intense Harvard grad who went on to become an architect of Jimmy Carter’s come-from-nowhere victory in 1976. A pollster and strategist in five presidential campaigns, he became as well-known in Washington for his flamboyance and hair-trigger temper as for his skill at reading the political tea leaves.

These days, 41-year-old Patrick Caddell lives in self-exile from the nation’s capital. He works the phones from a lounge chair beside the pool at his Brentwood home. Almost every day, one of the many calls he takes comes from his friend and presidential candidate, Edmund G. (Jerry) Brown Jr.

Caddell says he retired from professional politics in 1986, when he left Washington–a town he now says is “on the cutting edge of irrelevancy”–to take a job teaching political science at the University of California at Santa Barbara. Though his current role in the Brown campaign is unofficial, he has profoundly shaped the former governor’s election strategy. When Jerry Brown decries politicians’ addiction to money, or talks of the need to “take back our government,” he is playing a tune Caddell composed. The pollster wrote much of the speech Brown delivered last October when announcing his candidacy in Philadelphia, and Caddell is credited with helping Brown identify many of the themes he’s using to appeal to alienated, disaffected voters.

No one, it seems, is more alienated and disaffected than Caddell. He now finds the system he once so skillfully manipulated to be “corrupt to the core,” and he visibly bristles when discussing the “political, economic and media elite.” Caddell vents his spleen on a weekly political talk show aired on Century Cable, and says he is developing several film and television projects. As if to underline his transition to California, he drives a 1966 Mustang convertible and dresses in a casual style that might be considered slovenly in the nation’s capital.

But Caddell’s passion is still politics at the highest level. In addition to advising Brown, Caddell also reportedly prepared a memo for Texas billionaire H. Ross Perot, advising him on a strategy for developing a successful third-party presidential challenge. Over a bowl of Mongolian black-bean soup, Caddell seemed to revel in the role of insurgent, delivering his theories and pronouncements in the rapid fire, impatient style of a man who has plenty of ideas and too little time.

Question: What’s going on in the country? There’s obviously a tremendous amount of frustration with politics and politicians. What do you sense is happening in the minds of the electorate?

Answer: Politics is disconnected from the country. We were already seeing signs of protest in 1990–David Duke, Dianne Feinstein, Clayton Williams (of Texas) and Bernie Sanders (of Vermont) were all supping out of the same pot. And it wasn’t about ideology. For the last 25 years, the politicians in this country have presided over a decline, and it is impossible for them to acknowledge it. Because to change, to turn the country toward what has to be done, they would first have to tell the truth. And to do that would be to risk their own power, because, in a democracy, that means standing up and saying, “We have failed.” And the track record of people who do that is not very good. So the Democratic Party lives a lie, the Washington Establishment lives a lie: “Nothing’s really wrong, don’t worry about the $400-million deficit, just elect us.”

Q: This feeling of anti-incumbency has been building for a good while. Do you sense that it’s finally coming to a head?

A: There are three things that have brought us to what I think is a firestorm. First, an alienated public. Alienation is something I’ve been dealing with politically since the beginning of my career. But this is the worst I’ve ever seen it. In the 1960s, when you asked, “Do your leaders do what’s best for you and not for special interests?” people overwhelmingly agreed–60% or 70% of them. Now it’s totally reversed. People today simply believe the political and economic system is stacked against them.

The second thing is a sense of decline. This are people saying that America is not No. 1 anymore. Americans will rage against that idea, because all America is built on the notion that things will get better. Moving across that psychological divide is a major thing.

Q: So are you saying that you accept the notion that things won’t get better, that we are, in fact, in decline?

A: Absolutely! Get somebody up here to argue with me that, as individuals and as a society, we are better off now than we were in 1968. You don’t have to convince the American people of that–they now know it. Now the third thing, which I don’t think anyone has articulated yet, is that what we pass on should be greater than what we got. We leave our children a better America, and more opportunity. You kill that idea and you will kill this country. And that’s exactly what’s happening! That’s the overwhelming moral issue. When I look at the political leadership, the economic elite that has ripped off the country, the press that has been its propaganda mouthpiece, I tell you this: In their collective and individual pursuit of power, they have committed acts that are worse than treason. And that’s what the American people feel now. That is the third great force that is at work here, and we have not even seen the full fury of that yet.

Q: Is it your role to offer a prescription?

A: No. I want to be like Toto in “The Wizard of Oz.” I want to be the person who pulls back the curtain and shows them that there is no wizard, just an old man with a microphone. My job is to help people connect, and to see that they are not alone. I left politics, and I said I would never be in a venture where I couldn’t speak with my own voice. I don’t speak for Jerry Brown and he doesn’t speak for me.

Q: Still, are there mechanical things that can be done? For instance, term limits. Does that make any sense to you?

A: Yes. But it’s such a minor thing. In a functioning democracy, I think term limits are wrong. But at the moment, I think you need a hatchet. I believe that America faces a crisis that only rivals the Civil War and the Revolution which bore it. It’s not about term limits or campaign-financing reform, it’s about getting people in power. Tom Foley (the Speaker of the House) is not going to reform himself.

Q: Do you get rid of the legislature, do you get rid of the congressional staffs? Do you recreate the bureaucracy, do you move the government to Lincoln, Neb.?

A: I don’t know. First of all, nobody has a single answer. Maybe you should break up the government. You’ve got to cut the staffs down; they are out of control. But you don’t have to totally change the system. There’s nothing wrong with the Constitution. When I say this country needs a revolution, it needs a revolution of restoration. We must first get an agenda of consensus in this country–that the country is in crisis and that we are willing to come together to deal with it. It’s not about arguing if we like this health-care plan or that one. It’s about taking the big steps to save the country. That’s what the issue is, a commitment to change, to the restoration of American greatness. It’s that simple.

Q: If the system is corrupt, can’t one conclude that the political parties are corrupt as well?

A: Yes, and the Democratic corruption is much worse than the Republican corruption. I say that as a Democrat. My party is standing at the verge of following the Whigs into history, of disappearing overnight if they keep this up. The Republicans really do believe in what they say. When they say “Help the rich,” these people act in obedience to their principles. When people in my party do it, they do so in absolute treason of their principles. I’ve realized that my friends are more corrupt than my enemies . . . .

Q: What’s your relationship with Ross Perot? Do you meet with him, do you speak with him regularly?

A: I have had one meeting with Ross Perot, several months ago, and we talked and I encouraged him. Other than that I have nothing to say about my relationship with Ross Perot.

Q: Perot is apparently getting thousands of phone calls a day offering support. How come the public, which presumably knows next to nothing about Perot’s politics, is seemingly so eager to get behind him?

A: I don’t know if this is going to be real; he has a tough course ahead of him. But he is a genuine folk hero. When he goes on TV and talks, people listen. He’s said he will only run if his supporters pave the way for him, if they do the work. Instead of selling out to the Democrats or the Republicans, he says to the people, “I’ll sell out to you.” His message is the reverse of Jerry Brown’s. Jerry’s was, “If I build it, they will come.” Perot’s is, “If you build it, I will come.” His politics are much more complex than they seemed in the beginning. The man is pro-choice, pro-gun control. He’s a very eclectic guy.

Q: Tell me about Jerry Brown. How deep do you think his appeal can be?

A: I don’t know yet. He’s still growing, and they’re still responding. He has a transition to make from simply being the vehicle for discontent, to where people see him as an acceptable leader. You know, in all my life in politics, I am used to dealing with people who are basically finished men. Grown. One thing that struck me about Jerry Brown, in the last year or so, is that the guy is still growing. Can he pass the test of being a real leader in people’s minds? If so, he has many advantages that Ross Perot will never have. He can speak with knowledge about the government. He’s run it.

Q: How optimistic are you about Brown’s chances of capturing the nomination?

A: Every day Jerry Brown is raising $80,000 to $100,000 on his 800 number. He has gone from being a joke to being able to raise $100,000 every day, from people contributing less than $100! Man, I want to tell you, it’s out there, the people are ready. As far as I am concerned, the campaign is just beginning. What happens if Brown sweeps his way through the primaries? He’s going to go to the convention and tell the delegates that he is running on a platform that indicts them as personally corrupt. That’s going to be very tough for those folks to swallow.

This is going to be as exciting as 1968 was politically. We don’t know now how it’s going to shape up. But there are great forces there, and great moments of possibility.

I remember hearing the Washington insiders view of Jerry Brown: “Great message, wrong messenger.” And I would bristle. If your problem is the messenger, if you agree with his analysis of the problems with the political system, then I must ask, “How come his is the only voice?” The answer is there is not another voice, because they are not allowed in. We have a self-perpetuating class of people who have designed the system to keep anyone who questions it on the outside. It’s a system designed to take democracy away from the people. So when Jerry Brown raises the banner of taking back the country, they must kill this message. It’s a message of death for all of them. It is Cromwell, “Out, you are not a Parliament.”

Q: Jerry Brown is running a campaign that has similarities to the race you helped run for Jimmy Carter. Carter also ran as an outsider and a reformer. Can you make a comparison between the two campaigns?

A: It’s gotten much worse. With Carter, we were battling with muskets. Now it’s thermonuclear war. In 1976, the (Democratic) party was still a good party. It had not become what it is today.

Q: If the system is indeed failing, can this leadership recharge the engine, get the growth back? Or do we just have to face the reality of decline?

A: This country cannot survive if the reality is that we continue to go downhill economically. That is not necessary. There’s no reason for it. We can get that engine moving. Jerry Brown’s idea about the flat tax is an idea about getting that machinery going. When he announced it, I didn’t know anything about it. I nearly fell on the floor. But I’ve gotten much more enthusiastic the more I look at it. The principle of it is to get something that’s fair. Even the New York Times said it’s the first interesting idea this year.

Q: Do you have any prediction for Tuesday’s primary in New York.

A: Yes I do, but I’m not going to share it with you, because I don’t believe in jinxing myself. Right this very minute, as I talk to you, I think Jerry Brown–I don’t even want to say this–but it could be a big moment. Let me say this. On Tuesday night, there is the possibility that American politics could be shaken to its foundations in a way that has not happened in our lifetime.

Heyerde “Seko” López is a Venezuelan artist and activist with experience in plastic arts, screen printing, photography, graphic design, and audiovisual production. For 13 years he has been a member of Fundación Nativa Crea, a grassroots organization from Guarenas, on the outskirts of Caracas, dedicated to social work and advancing popular power.

What is Fundación Nativa Crea and what does it do?

Fundación Nativa Crea is a sociocultural organization dedicated to bringing together communes, social movements, and individuals in the town of Guarenas. We organize a variety of activities in our territory, ranging from rescuing abandoned spaces and painting murals to offering free workshops on screen printing, music, theater, and circus in local communities and schools.

Nativa is also dedicated to grassroots communication through social media. We’re always doing digital and graphic design and recording in the community to make visible what people are doing. We work to forge the identity of our barrio, our working-class areas, and our communities, so that people can be the protagonists of the revolution we’re building and the path we’re traveling together.

We’re located in Plaza Bolívar in Guarenas, right next to City Hall, because we had the chance to speak with President Chávez and decided to occupy that space, which was a Corpoelec [state electricity company] substation that had been abandoned for 15 years. At the time, we identified 37 abandoned spaces in Guarenas, but that one stood out as the most visible and strategic. We surveyed the area, and the project was born.

How is Nativa’s work organized in practice, and how does it integrate with the local community and the people’s power organizations?

There are six of us now, but we coordinate with other people in the territory and in other parts of the country. We have a set of goals and an action plan. Each person takes on tasks based on their strengths. We have six production units, two of which are currently operational: the auto repair shop, where we fix cars and motorcycles, and the screen printing and communications workshop, where we make T-shirts. We have a brand called “Contestatarixs” to market prints of iconic figures and world-renowned fighters. The other four units are a cultural café that we will soon reopen, a community bakery, a recording studio, and a greenhouse. In fact, we plan to establish a greenhouse in every community council.

In total, there are 15 community councils in our territory, which make up the General José Félix Ribas Commune. Our organization belongs to the Pueblo Arriba Communal Council. In our sector, we’re going to start with a medicinal garden, as well as tomato and onion seeds, and coffee and cacao seedlings, to later coordinate with local farmers. We’re also considering a partnership to grow barley in the nearby campesino settlements and produce craft beer. Why not have a Venezuelan communal beer?

You mentioned the bakery and the café that closed down. What obstacles did they face?

The bakery and the café closed down due to the economic difficulties resulting from the US sanctions. For example, when wheat imports were restricted, it became very difficult for us to acquire the raw materials. Previously, it had been subsidized. Although we were part of a bakery coalition with other grassroots organizations, and we held numerous meetings and coordinated efforts with the government to defend community bakeries, it was not possible to maintain our operations. In Venezuela, wheat is controlled by the owners of the silos. We fought a tough battle between 2014 and 2017, but that coalition practically fell apart, and now only the large, capitalist bakeries remain. But we are creating the conditions to revive this productive unit. We want to build a communal economy. We are going to start creating the conditions, now with more criteria and the lessons learned over these years. After all these battles, I believe we have the necessary experience.

What are the main challenges Nativa has faced over the years?

The main challenge is staying true to our identity as a left-wing organization in the face of the imperialist blockade. Nativa Crea started out as a clothing brand and is now a social organization running a headquarters of 542 square meters. But the hardest part is sustaining ourselves over time. It’s one thing to have an idea, to design a project, and quite another to sustain it –to preserve the ideology, retain the members, and create conditions so that it’s a space where people aren’t exploited and can have free time to organize alongside the pueblo. 

We also knew that, as we asserted ourselves, we would deal some blows to the bourgeois state. Not all mayors, governors, or institutional leaders will want to relinquish their share of power and accept the consolidation of popular power or the communal state. In practice, we have seen that things are not as beautiful as they are in theory. Rather, they are riddled with contradictions. But we have the spirit to fight and move forward. Today, what we do is join forces with different organizations, communal councils, etc., to keep the project moving forward and to help them identify with it. Nativa has always been a space where people can meet, hold workshops, organize politically, and so on.

What would you highlight as Nativa’s main achievements over the years?

Our main achievement has been bringing together different people, from different communes, and ensuring that everyone understands we’re all fighting for the same cause: building the communal state. 

I believe our task is to demonstrate that popular power is the way forward. For example, eight years ago, using the surplus generated by the bakery, we were able to build a sports court. So, we showed that economic activity can take place under decent working conditions, serve the community, and generate a surplus to contribute to the territory where we live. Therefore, if we have productive units –which is what we insist on in the commune –we will be able to achieve autonomy, we will be able to make decisions in the territory, and we will be able to develop what the barrio needs.

Nativa, and you in particular, place a lot of emphasis on the cultural front, especially on graphic design. What is the vision behind this?

Through graphic arts, we shape our identity. Ever since we started creating prints, painting murals, taking photographs, and producing audiovisual works, we’ve always sought to reclaim Venezuelan identity. Not the identity sold to us about barrios in mainstream culture –the glorification of crime or the idea that people dress and speak a certain way. Every town has its identity, every city has its identity, every territory has its identity. So, through the arts, we try to capture that, what we experience, and in this way, people begin to recognize themselves, know where they come from, and also to appreciate things that are nationally, locally, and indigenously produced. It gives new value to their experiences, to what they consume, read, and so on.

You recently hosted an international brigade from Brazil’s Landless Workers’ Movement (MST). What was that exchange like, and how can that feedback help strengthen grassroots organizing?

The MST brought a large group that split into seven brigades spread across different parts of the country. We were assigned one as the representative from the central capital region. This experience has been very important, because we see that our brothers and sisters in Brazil are fighting for the same cause as us: against capitalism and imperialism, and for the unity of the Latin American peoples.

The Landless Workers’ Movement has been raising that banner of struggle –the fight for land and the construction of campesino settlements –for over 40 years. They have very advanced methods, and they are masters of organization and planning. In fact, they are advising us on the various productive units. They believe that we, Venezuelans, need to focus more on planning, sticking to schedules, fulfilling responsibilities, etc. The exchange has helped our communards hear the perspective of comrades from outside, with their experience and organizational skills. They have shared their insights with 10 communes here in Guarenas and are also getting to know the local projects that have been approved through popular consultations.

As someone with many years of experience in grassroots organizing, how do you view the relationship between constituted power (institutions) and constituent power? What is working, and what needs to change?

Chávez, and also our professor Manuel Sulbarán, always told us that we, the working-class people, are the only ones capable of bringing about change and progress in our own country through popular power. So, popular power must continue to develop these methods and strengthen our communes, making them active and productive, and demanding that the state or institutions transfer the responsibilities we can assume and the resources we need. 

For example, in the General José Félix Ribas Commune, the project that won last year’s consultation was focused on the youth to build a soccer field. There was a group pushing for it, but the US $10,000 allocated for the project wasn’t enough. That caused a lot of discontent and led some to think that popular consultations were useless. These are the issues we need to debate and politicize. We explained to them in an assembly that this is a megaproject that cannot be done with just $10,000, so it must be conceived in several phases. We have to keep our spirits up and continue participating.

The soccer field has been a good topic for debate and reflection, because it is also true that the commune has many priorities that are more important than a soccer field. Everything is needed, and sports play a fundamental role, but for example, if the sewer system is damaged, the community will likely prioritize fixing that. That’s why we need to plan and see which projects are proposed through which channels. If we do a better job of categorizing projects by scale and setting timelines, we’ll be able to strengthen our commune. 

But, to answer the question, institutions need to work with us, the pueblo, and understand the priorities of each territory. Perhaps it’s not best for the commune to choose building a sports field because that should be the responsibility of the Ministry of Sports. This ends up giving the commune a responsibility that it should not have to assume, or that it is not in a position to take on. Nor should we be taking on the project of repairing a school when we have a Ministry of Education and a Ministry of Public Works. Obviously, our communards will dedicate themselves to anything that improves the community’s life, but why should the commune burn its only chance to access funding for popular power on unfeasible projects that should, moreover, be the responsibility of the institutions? So we must also demand that those holding constituted power –the government and institutions –fulfill their responsibilities, so that we, as an organized people, can move forward with ours. Another challenge we face is that some people confuse the tasks of the party [PSUV] with the exercise of popular power, and as a result, they sometimes end up dragging the commune into areas that are not its responsibility.

Finally, how does Nativa interpret the current political situation, and what role should the organized people play?

January 3 was a grave moment, a call for reflection, just as the 2002 coup had been, when the people took to the streets to make history. The lesson is the same: the people must understand that only popular power will allow us to overcome this onslaught by the capitalist economic system and imperialist attacks.

Today we must organize ourselves once again, win over all those people who were fighting, or who are fighting out there but scattered. We have to unify the struggles, as President Chávez said at the time: it is very important that we know who we are, what we want to build, in order to move forward in consolidating the Bolivarian Revolution. And beyond Venezuela, we must understand ourselves as a bloc with our neighboring countries. 

For the youth, it is important not to abandon the banners of anti-imperialist and anti-capitalist struggle and to create our own methods. The past centuries’ revolutionary struggles of Germany and France will not apply here. It is not enough for us to simply “follow the ideas of Lenin, Mao, Che, or Fidel,” although we must certainly read and study them. Chávez put it very clearly: we are going to give birth to the 21st-century revolution; we are going to create it. We’ve only been at this for 20 years, developing different theoretical and political aspects, with different participants sometimes on different wavelengths. But we all know that we have a right to an anti-imperialist revolution that defends life on the planet.

A HISTORIC Gloucestershire lido may not open in time for summer, as the council review risk assessments into its damaged infrastructure, reports the BBC.

The site, that saw its heyday back in the 1940s, is struggling under the burden of its ageing facilities.

The Stratford Park Lido, located in Stroud, Gloucestershire, has been serving open air swimmers since 1937 and cost £20,000 to build.

Recently, there were suggestions that the lido could reopen this summer, after Stroud District Council agreed to explore cheaper repair options.

The council had warned that safety concerns and a £5million repair bill would ultimately take too long to settle in time for summer.

However, during a meeting earlier this week, discussions arose that the lido would be unlikely to open this summer due to the condition of the facilities.

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In February, a risk assessment revealed serious hazards, including a cracked foundation and excessive corrosion on the pipework.

There was also discussions about the lido becoming the property of the Stroud community or the town council in the future.

Friends of Stratford Lido and the Save Our Lido Campaign Group, alongside the council, have organised a meeting to discuss these decisions.

There had been 100 written requests from residents to understand what would happen to the lido in the future.

The Save Our Lido Campaign group also argued that previous maintenance plans included unnecessary upgrades, such as heating.

Now, it will cost the council’s Strategy and Resources Committee up to £200,000 to investigate whether the lido will open this summer.

Tarek William Saab, one of the key figures in the repressive apparatus that oppresses Venezuelan society, is dismissed as prosecutor general, but a family friend who has spent years denying Maduro’s atrocities on the international stage is appointed in his place. Vladimir Padrino, under investigation for systematic human rights violations, is replaced by Gustavo González López, also under investigation for systematic human rights violations. They pass an amnesty law, but primarily to grant amnesty to themselves. Over 700 political prisoners are released, but another 473 remain in prison, and those who are released do not always enjoy full freedom.

The institutional reforms of Delcy and Jorge Rodríguez generate headlines abroad that portray them, to those who don’t pay attention to the details, as the moderates The New York Times described them as shortly before the military incursion of January 3rd. The economic reforms, on the other hand, provide arguments, or rather content, for the Trump administration to claim on its social media accounts that it is succeeding in reshaping Venezuela, when on the ground the population observes their living conditions—the blackouts, the inflation, the widespread vulnerability—and concludes that they remain the same as when Maduro was dancing calmly over our dead.

Yes, there are some reasons for optimism, especially regarding the economic transition, but the transition to democracy doesn’t seem to be happening yet. The dictator was removed in a helicopter, but the dictatorship remains.

So far, all of this fits into a metaphor that has been cited countless times in decades of opinion pieces in Venezuela: the Rodríguezes are changing everything so that nothing changes. I grew up reading that cliché in the press, before chavismo burst onto the scene, guns blazing, in our history. “They’re like the Leopard, they change everything so that nothing changes.” In a country that has seen so many supposed reinventions, so many revolutions promising a clean slate to simply replace one set of power with another without solving any of the nation’s structural problems, that cliché has been uttered in relation to many governments and many leaders. But where does it come from, and what does it originally mean?

The cunning of the opportunist

Giuseppe Tomasi, Prince of Lampedusa, was a Sicilian aristocrat who seemed like a character from a novel: he failed as a soldier, he couldn’t prevent his family’s ruin, he saw his palace destroyed by Allies bombs during World War II, and in reality, he was only good for reading and learning languages. He published very little during his lifetime, and spent more than twenty years writing a novel that was published a year after his death in 1957. The book, which was a great success from the start, was titled Il Gattopardo (The Leopard in the English translations), after the cheetah that appears on the coat of arms of its protagonist: Don Fabrizio, the Prince of Salina.

The world is full of Tancredis like Jorge, Venezuela has never lacked them. Juan Vicente Gómez also promised change when he overthrew his crony Cipriano Castro, remaining in power for 27 years.

The character, like his creator, was the last of a line. He was a landowner whose noble titles and privileges depended on the existence of the Kingdom of the Two Sicilies, as the Spanish dominion of southern Italy was called in 1860. When, that year, Garibaldi’s troops invaded Sicily, in the process that would eventually produce the Italy we know today, Don Fabrizio found that everything he stood for was in danger. Sicily would cease to be Spanish and merge into the new Kingdom of Italy, and he would lose his place at the pinnacle of that feudal society, dominated by a few through the mere will of a foreign sovereign. Don Fabrizio, who had dedicated his life to preserving what he had inherited, saw no way to stop the transformations that were approaching like a tsunami at the gates of his palace, crowned by wrought-iron leopards. But his favorite nephew, Tancredi, an ambitious climber who married the daughter of an uneducated nouveau riche and joined Garibaldi’s Redshirt revolution without hesitation, showed him what had to be done: “If we want everything to stay the same, we have to change everything.”

The fate of the cynics

Il Gattopardo is an exquisite work, a great historical novel that brings together all the virtues of the genre: the ability to transport you to an era and dissect it; the pleasure of escaping to a beautiful palace in the golden hills of Sicily, beside a turquoise sea; details like the pasta timbale and granitas served at a fully set table. All of that is in Luchino Visconti’s magnificent 1963 film version, starring Burt Lancaster and Alain Delon, and in the superb miniseries—in which all the actors are Italian—on Netflix.

But what immortalized it was that line from Tancredi. Because of its power to synthesize what many people, in many different historical contexts, have done time and again: move from the old order to the new, disguised as reformers, to avoid losing their privileges by securing a place in the emerging elite. Changing everything so that nothing changes is the strategy of those who must pretend to be the future and not the past, because they would pay a heavy price if they didn’t. It’s the roadmap of those who, like Delcy and Jorge Rodríguez, have prepared themselves to take advantage of an external factor that destabilizes the order of their world—Garibaldi’s landing, the arrival of the Marines—and reorganize that world to their advantage.

Perhaps Jorge Rodríguez read Lampedusa back when he frequented bookstores and wrote fiction like the story that won the El Nacional literary contest. Perhaps he saw Visconti’s film. Perhaps he doesn’t even know this story: the world is full of Tancredis like him, and Venezuela has never lacked them. Juan Vicente Gómez also promised change when he overthrew his crony Cipriano Castro, remaining in power for 27 years at the head of a dictatorship that had a very good relationship with foreign oil companies.

In the novel, however, Tancredi meets a bad end: he loses an eye, fails in his ambition to seize power, pays for the mistake of underestimating the Mafia father-in-law with whom he became involved, and for overestimating his own talents. The prince, as expected, disappears along with the world he represented. Italy in the 1860s changed in many ways, and left other things as they were. When you truly read that immortal book left to us by that sad, solitary Sicilian prince, you understand how cynics work to appropriate historical changes, but you also realize that no one, not even those who seem most powerful, can control these.

It’s not only easy to get lost in the Los Angeles County Museum of Art’s new David Geffen Galleries, it’s inevitable, intentional — and one of the best things about the place.

The museum has deconstructed the traditional, boxy narrative of art history and rendered the story itself a matter of curves and continuities. Art in the collection is freed from its departmental silos and put into conversation across genre lines, place and time.

The museum has physically invalidated the binaries of center and periphery, major and minor arts. In a startling and largely gratifying way, LACMA has done what the poet Audre Lorde, alluding to a different but not unrelated aspect of patriarchal dominance, deemed impossible: used the master’s tools to dismantle the master’s house.

The change goes far beyond a remodel. It’s a reinvention, a recalibration, a revisionist fever dream.

The vision conceived by museum director and Chief Executive Michael Govan and architect Peter Zumthor is not perfect, and brings with it a modest set of frustrations, but as a whole, the installation registers as ravishing and bracingly fresh. It thrusts us midstream into the ageless, ceaseless flow of makers worldwide reckoning with life, earth and being.

It prompts us, as we bob about, to reflect on our own proclivities and preconceptions, our patterns of reception and perception.

It compels us to recognize that what matters is not just what we see in the museum but how we see, what pulls us close and why, what private histories we bring to the occasion, what expectations, what tools.

Over two visits to the new building, getting my physical bearings mattered less and less as I surrendered to the generative sensations of not knowing. The museum has produced a dense guidebook to the new galleries, whose title, “Wander,” doubles as invitation and imperative. Even at 430 pages, the book is only minimally useful as an orientation device. For help with that internal navigation, Rebecca Solnit’s moving 2005 book, “A Field Guide to Getting Lost,” proved a better compass.

LACMA’s guidebook to the David Geffen Galleries, called “Wander,” doubles as invitation and imperative.

(Museum Associates / LACMA)

Solnit, citing the cultural critic Walter Benjamin, writes, “to be lost is to be fully present, and to be fully present is to be capable of being in uncertainty and mystery.” She goes on to recall how roaming freely as a child was key to developing self-reliance, which feels apt to the LACMA strategy. We are put in charge of making our own way, through tapestries and tea sets, past ancient jug and contemporary sphinx, without heavy-handed authoritative direction.

The history of art reads here as one long, free verse poem-in-progress, gorgeous and absorbing. Even so, many of the most memorable moments come in the form of cogent micro-essays, smartly curated ensembles of work bearing a legible, lucid premise. Some of these are contained within four (rectilinear) walls; some occupy less demarcated spaces. “Tonal Variations: Photography and Music,” for instance, gathers images by Paul Caponigro, William Eggleston, Lisette Model and others. These artists were also serious pianists, attuned, no matter which instrument they were using, to the qualities of rhythm, pattern and progression.

Lisette Model, “Window at 5th Avenue,” 1940, Los Angeles County Museum of Art

(Museum Associates / LACMA)

In a section headed “The Global Appeal of Blue-and-White Ceramics,” a long display case houses a timeline articulated sculpturally. The sequence advances from a 9th century bowl made in Iraq to a 13th century vessel from China, a 14th century example from Thailand, another from 15th century Syria, up to work by a 20th century German artist who transformed a functional vessel into personal adornment by cutting a string of beads out of the planar surface of the bowl.

Dish, Turkey, Iznik, c. 1530-35, Los Angeles County Museum of Art

(Museum Associates / LACMA)

On the wall facing this display is a huge vitrine containing an 18th century Talavera jar from Mexico, paired with a 2025/26 color photograph by Brooklyn-based Stephanie H. Shih. In the still-life composition, a cheeky visual lesson on the collision and convergence of cultures, the jar holds flowers, cactus and edible Mexican treats influenced by Chinese and Filipino flavors.

Top, Stephanie H. Shih, 梅國 “(Still life with chamoy and Dirty T Tamarindo),” (2025- 26); bottom, Jar (c. 1700-50)

(Museum Associates / LACMA)

Shih is one of a handful of artists commissioned to create new work using the museum’s collection as muse. L.A.-based Lauren Halsey is another. Her formidable, untitled 2026 sphinx regally commands its space among ancient Egyptian and Roman sculpture, a marvel of the cross-temporal and cross-spatial, spiked with specific references to Black self-determination.

Setting recent works among older ones is an effective element of LACMA’s overall plan to shed outworn hierarchies. It recasts every piece of art by every artist throughout the single-story space as equally relevant. The seamless integration of old and new feels stealthy, and a touch subversive, a doubling-down on the museum’s approach to time as nonlinear, sinuous and delightfully slippery.

Lauren Halsey’s untitled 2026 sphinx.

(Museum Associates / LACMA)

That said, a few words readily available would help connect the dots without undermining the provocation. Text — where and how it appears, or doesn’t — is my only major complaint about the installation of the new galleries.

Text panels announce, in one or two paragraphs, the themes of each given section: “Images of the Divine in South Asia”; “The Evolution of Abstract Painting in Modern Korea”; “Textile Conversations: Africa and Black America.” Individual object labels are kept minimal, containing only basic identification about each work, no commentary. When asked about this decision during my first walkthrough, Govan replied that more time reading means less time looking — “and we have the internet.” Every thematic text panel has a QR code that links to the Bloomberg Connects app, an aggregate guide to museums and other cultural sites that offers selected, augmented entries.

Determining how much didactic information is insightful and sufficient, and how much constitutes excessive artsplaining, is a delicate, ongoing challenge for museums. Where LACMA landed on this contested plain strikes me as unfortunate and counterproductive.

A few lines of explanation or context on a wall label can add perspective for even the most informed visitor, and provides crucial support to those with less foundational exposure and access to art.

You can take or leave text on a wall without breaking your stride, but text accessed via QR code is another matter. (Never mind that connectivity is spotty inside a sprawling concrete shell, and several times when I tried to get information from the app, I couldn’t.) Encouraging us to shift our gaze from the wall to our devices — to assume that accursed downward tilt of the neck when splendors abound before our eyes — is simply detrimental. It breaks the spell of being fruitfully lost in the present, and retethers us to the digital distractions that dominate our days.

Wall text beside Francis Bacon’s “Three Studies of Lucian Freud” (1969), at Los Angeles County Museum of Art.

(Museum Associates / LACMA)

Shouldn’t the imaginative minds that created this space, this opportunity to revel in direct sensual experience, want us to keep our attention where our bodies are? Why this fallback to current convention, when the rest of the experience is about radical reinvention? This feels like a missed opportunity. I’m hoping a more experimental, exploratory approach to providing information, context and interpretation, in keeping with the rest of the enterprise, might yet come.

Does the new structure serve the art? Mostly, very well.

The lighting is varied, treated as another texture in the space, palpable and rich. There’s a generous amount of natural sunlight, but some spots are noticeably dim. Some gallery walls are glazed in deep hues (reddish and eggplant), and the intensity of the color is jarring at first. But neutral, white-box viewing spaces (with even, predictable lighting) can be found elsewhere on LACMA’s campus and pretty much anywhere art is shown. Here, the very irregularity of the interior environment, including the concrete surfaces — richer and more textured than I expected — heightened my alertness. And keener senses tend to make for more consequential experiences.

In deciding how to organize roughly 2,000 works of art across 110,000 square feet of exhibition space, LACMA devised a conceptual schema that isn’t apparent in the galleries themselves. The “Wander” guide maps out the division of the space into four regions correlating to bodies of water: the Indian, Atlantic and Pacific oceans, and the Mediterranean Sea. While the zones and their boundaries aren’t indicated by obvious signage, and I caught one laughable categorization (Ansel Adams’ photographs of the Pacific shoreline landing in the Atlantic section), this schema at least doesn’t get in the way.

And what does work about the propositional structure is its comprehensive realignment. It moves to retire art historical frameworks of the past, dependent on borders between places and times.

Throughout this installation, we are repeatedly reminded of the impact of trade and migration, the fluid movement of resources and belief systems. We’re reminded of porousness and simultaneity, and that all art histories are, in the end, propositional structures.

Here’s a new one, the Geffen Galleries say. Try it out. You might get lost. Indeed, you will get lost. And what wonders await you in the uncertainty and mystery.

“Gambrel roofed Barnhaus,” the listing read, “next door to the best burritos in town.”

Its photos revealed something unusual for Inglewood, which is famous for its mix of architectural styles, including Midcentury Modern homes by R.M. Schindler and Googie-style coffee shops: a brick-red barn-style house on a large corner lot, listed at $449,000.

When Meeshie Fahmy and her husband, Aaron Snyder, toured the house, they learned that the burrito claim was true. The photos, however, had clearly been touched up to make the house, located just a few miles from the Kia Forum and SoFi Stadium, look better than it actually was.

Outside, the former dirt lot is now a lush garden with towers of colorful black-eyed susans on arches, planters full of nasturtiums and vegetables, a firepit and pergola.

Inside, the house had “wall-to-wall carpets on both floors that were heavily stained and worn, dated wood paneling on the walls, holes in the walls,” Fahmy says.

Despite these flaws, the couple saw the home’s potential and decided to buy it, even though a leaning retaining wall nearly derailed their escrow. “It was a blank canvas for us to play and experiment,” she recalls a decade later.

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After they moved in, neighbors revealed the house was not original to the site. Years earlier, the original Craftsman had been torn down; the current house, a sweepstakes prize, arrived in two pieces by crane. “Our neighbors recalled it was quite a sight,” Fahmy says.

At the time, Fahmy, 44, worked as an event planner at the Getty Museum. As renovations started and she followed her passion for interior design, Snyder proudly introduced her to staff at the local Carniceria as “an interior designer.” She replied, “That’s not what I do.”

“I told her, ‘If you don’t start saying it, it’s not going to happen,’” says Snyder, 49, who pursued his own dream of becoming a professional skateboarder before moving into video editing. “Speak it to existence.”

Finishing the house took years, patience and a lot of DIY projects because of their budget. But Fahmy didn’t just dream — she made it happen. In 2018, she started working for interior designer Willa Ford, who mentored her at WFord Interiors. By 2020, Fahmy launched her own design firm, Haus of Meeshie. “It’s been a progressive layering of colors, furniture, reupholstering, adding art, wallpaper, lighting,” she says. “Low and slow; the flavor is richer.”

Meeshie Fahmy and Aaron Snyder’s family room is a colorful maximalist dream with thrifted furnishings, art and layered textures and patterns.

Ninety percent of the furnishings are thrifted. “Nothing is too precious,” Fahmy says.

Today, their home reflects Fahmy’s fearless approach — it’s a true “petri dish for experimentation.” The vibrant, layered four-bedroom house is a maximalist fever dream, packed with furniture, accessories and art sourced from Facebook Marketplace, vintage shops, flea markets (Long Beach flea is a favorite), estate sales and secondhand stores in L.A. and elsewhere.

She estimates about 90% of the furnishings and accessories in her home are thrifted, antiques or things she found on the side of the road, and nothing is too precious, reaffirming her playful approach to decor.

A Jonathan Adler dining table, found on sale, sits in front of a wall filled with art arranged salon-style. Among the pieces is Fahmy’s favorite: a wedding portrait her father, Walter Fahmy, painted of her.

The speakeasy features a vintage standing bar from Craigslist, barstools and a Geo pendant light by Los Angeles designer Jason Koharik and a mirror Fahmy found at a neighborhood estate sale.

She likes to refer to her decorating style as “creatively unhinged.”

“It all flows,” she says, curled up with her dogs on a CB2 couch she found on Craigslist. “There’s a rhythm. Every piece tells a story. Pick one — I’ll share it.” She recalls throwing herself on a vintage Baker sideboard at a Florida Goodwill without knowing how she’d get it back to Los Angeles and laughs when Snyder discovers a tiny Jack Black-as-Jesus portrait tucked into a gilded dining-room oil painting.

The sink and vanity in the guest bathroom? That used to be a dresser she found on Craigslist.

Although others have questioned their home purchase, Fahmy never doubted they could transform the space into something special.

Color ties the house together. The powder room is purple, the entry hall is red, the kitchen has blue cabinets and the hallway is painted pink.

“When I first saw the house, when they bought it, I thought she was crazy,” Meeshie’s friend and former colleague, Talene Kanian, says in an email. “Other than keeping the ‘barn’ shape, she completely transformed the interior. Now, when you step inside, you’re welcomed into a home full of color, pattern and playfulness.”

Snyder adds: “Meeshie is able to visualize things 10 steps ahead of everyone else, even things that seem like a complete mess.“

Working together, the couple removed the shag carpeting and wood paneling from the first floor and the stairway, installing drywall in their place.

Next, they painted the walls — no beige here. The deep green living room sets a bold scene: a clock worthy of Dalí, leopard prints, pink Persian rugs, a snake ottoman and a thrifted tufted chair with Art Deco vibes from CB2.

“I did not venture into interior design formally,” Fahmy says. “I feel very lucky to have found this passion.”

The color story flows through the house: The powder room is purple, the entry hall red and the dining room walls pink, with one wall in a bold 1970s-style mushroom-pattern wallpaper from Londubh Studio. The speakeasy features a vintage standing bar from Craigslist that Snyder squeezed into his car, barstools and a Geo pendant light by Los Angeles designer Jason Koharik and a mirror Fahmy found at a nearby estate sale.

In the kitchen, they removed the 1970s-era wooden cabinets and Formica countertops, replacing them with more pink walls, Moroccan-style tile flooring and blue cupboard fronts from Semihandmade, which creates cabinet doors for IKEA cabinets.

Fahmy painted a Keith Haring-style black-and-white mural at the top of the stairs and continued onto the second-floor walls using a paintbrush taped to a broomstick. She finished by painting the handrail bright blue and wrapping each stair with a Persian-style runner.

Outside, the couple leveled the once-dirt backyard, added pea gravel, built a pergola with a handyman and installed a firepit where they enjoy entertaining their friends.

The main bedroom features burgundy walls, while the bathroom next to it has Persian rug-patterned wallpaper from House of Hackney.

Now the once-empty backyard is a lush garden: towers of colorful black-eyed susans on arches, planters of nasturtiums and homegrown vegetables. A trickling fountain greets visitors as they walk through the French doors. Snyder, an avid cook, can easily step out to cut fresh herbs mid-simmer, making the outdoors a true extension of the home.

The couple’s home is full of memories, and as you walk through, you can sense how much their stories matter to them. In the downstairs hallway, Snyder smiles as he points out photos of his family in Wisconsin. Similarly, Fahmy proudly shows a photo of her great-great-grandmother Theresa “Tessie” Cooke Haskins, a noted harpist whose daughter Maud Haskins was the first harpist to perform with the orchestra at the Hollywood Bowl.

Art is everywhere, from the Polaroids pinned to the walls in the powder room to the ceramics and masks hanging throughout the house. Yet Fahmy’s favorite possession is deeply personal: a portrait of her on her wedding day, painted by her father, Walter Fahmy, who studied art in Egypt before coming to America.

Upstairs, Fahmy created a black-and-white mural inspired by Keith Haring at the top of the stairs, then kept going along the second-floor walls using a paintbrush taped to a broomstick. She finished by painting the handrail a bright blue and wrapping each stair with a Persian-style runner.

French doors connect the house to the garden, so the backyard feels like a natural part of the home.

For Fahmy, these details matter. “I feel like our home is a love letter to my upbringing,” she says, referring to her parents, who were both pharmacists. “It’s an ode to them and the sacrifices they made for me.”

Visitors feel the same way. “Their house is a true labor of love, apparent the second you enter,” Kanian adds. “It radiates warmth and love.”

Snyder feels it too. “I feel an immense amount of pride when I walk into our house,” he says.

Like a barn raising that brings people together, their house has become a welcome part of the neighborhood with its blue siding, bright yellow front door and a playful mural by Venice artist and skateboarder Sebo Walker. “We’ve had neighbors knock on our door and tell us, ‘We love what you’re doing,’” says Snyder.

“I love color,” Fahmy says. “I love to experiment.”

With the main house finished for now, Fahmy hopes to turn the garage into an accessory dwelling unit, or ADU, in the style of Mexican architect Luis Barragán: bold with color and texture. “I’m envisioning a mini boutique hotel,” she says. “Simple to execute, yet unique in L.A. I’d love a pink building.”

Like the possibility of a pink building — or not — Fahmy’s freewheeling style proves it’s OK to experiment and make mistakes. (She wants to demo the kitchen next for a fresh look.)

“You’re not tattooing your face. You’re painting your walls,” she says as a way to encourage others to experiment. “Your home should be a reflection of who you are. I hope our home inspires others to live how they want to live.”

During a recent Zoom interview from his studio in Switzerland, Peter Zumthor offered a candid look at the making of the Los Angeles County Museum of Art’s new David Geffen Galleries.

The Pritzker Prize-winning architect addressed long-standing criticisms of the building and answered questions about his craft. He noted that the structure is a rejection of the overly “slick” architecture he believes defines the present moment, and shed light on the building’s early development, describing a contained process in which the concept was shaped before being presented to the public.

Finally, he discussed the broader ambition of the endeavor: dissolving traditional circulation and prioritizing emotional experience over institutional order.

The following interview excerpts have been edited and condensed for length and clarity.

You are well–known as both an architect and a craftsman. I think the biggest place for that focus was the concrete. I’m curious about how you formed it. It’s not the typical museum concrete.

I work like an artist in building. This means I custom-make buildings. I can use a few standard details or products, like in the basement. But where the building has an identity, becomes visible, it’s almost all handmade. I have an image of what I want to do, what the building should do, how it should look. So I need people who can help me make custom-made products.

The people who did the formwork — the concrete pouring — [worked in] groups of 100 or more. They were fantastic. They loved their work. At the beginning, formwork leaked on a door, and it looked terrible. They said, “Peter, we’re sorry. We made a mistake. We can fix this. You will not see this afterwards.” But if you make a mistake, you cannot mend it, because what you’re doing here is a concrete sculpture. Sculptures are never mended.

It’s not a perfectly smooth concrete. I’m assuming that’s on purpose?

I love this kind of rawness. This was what I gladly learned. Michael [Govan] in a very friendly, careful way let me know that he would like more “American details” and fewer “European details.” OK, my European details, they stand. That’s what I did 20, 30 years ago. My background as a furniture maker shows, and I can do this. But the challenge in this museum is to get the right “American” roughness. And I think I pretty much succeeded.

What I learned in California [came] back to Europe, and many times we now say in the office, “Let’s do this more L.A.-style.” Because we have too many slick magazines in the world. We have this corporate architecture which doesn’t want to see any touch of a hand. No mistakes. What we need is not refinement. We need wholehearted directness. This is what I take back from America. There’s a certain freshness. It’s not overly refined. I’m proud of that. The roughness has to do with our times. Because our time is slick and glossy, right? The time to make refined, slick architecture is over.

Horizontal light enters from floor-to-ceiling windows around the perimeter of LACMA’s new David Geffen Galleries, which use concrete as a kind of living building material.

(Iwan Baan)

In a 2023 interview with [architecture critic] Christopher Hawthorne, you said there were no “Zumthor details” left in the building. Do you think there are any Zumthor details now?

Of course there are Zumthor details. And I love them. They are not Swiss details. I think Christopher got this wrong. I was actually proudly speaking of how I learned a new way of looking at details. It doesn’t have to be refined all the time.

[Editor’s note: Zumthor told Hawthorne verbatim, “There are no Zumthor details any more,” in the 2023 interview with the New York Times.]

There’s always a tension with every building when it comes to value engineering. Were there any other places where you would want [David Geffen Galleries] to be different?

Basically, I say no. I’m very proud of this building. This is what I wanted to do, and this is what Michael helped me to do. This is exactly it. It’s one of my children and I love it.

Do you see this approach as an evolution in your work? Or is it more specifically for L.A.?

L.A. has changed me. And it’s in a good way. I would [not] have changed and reacted to our slick times the same way without L.A.

There were complaints that the project, and the process, were not as public as some people thought they should be. What is your reaction to that criticism?

I think I can say this: Michael said, “We cannot make a competition or anything like it, because competitions in the U.S. always end up with a winner who doesn’t build because he found out his own way of staging this whole procedure. The first, the most important thing, is that we start on a small budget, just the two of us.” That’s what we did. So when we started to talk about this museum, it was him and me, basically, and he gave me a little bit of money. And he said, “There will come a time when we will have to show something to the public. Let’s see whether people say yes.” They could have said no, but I think what they saw at that point was already too convincing.

Architect Peter Zumthor speaks at the press preview for the David Geffen Galleries at Los Angeles County Museum of Art.

(LACMA/ Museum Associates / Gary Leonard)

Because the museum’s not organized in a traditional way, it might be harder than normal to navigate for some people. It might be a little confusing. What do you say to that concern?

This will take some time, to see the benefits of this new type of museum. I think if you start to like this building in one corner or in another, or you get lost, you start to understand what it is all about. When something new comes, you have to learn, right? But I hope you can see this building never looks down on you. This building is, in a way, deeply human. And it lets you have your opinion.

There are people who have said, very loudly, this space shouldn’t have lost square footage. What is your response to that?

Small museums are beautiful, big museums tend to be really difficult. And the bigger the museum gets, the more difficult it is to make it easily accessible. So I’m very glad that this is not bigger. But it feels bigger.

What is this with bigness? What kind of a hang-up is this? You don’t have to be big. It has the right scale. We were often asked, “Can you experience this building and this collection in one day?” And we said, “Maybe. But maybe it will be better to come back.” Start from the other end. You have your own personal path. And then you research a little bit further. I think these are the beautiful ideas of how to experience the building. And I think it’s endless.

The interior of LACMA’s new David Geffen Galleries encourages guests to wander and make their own connections rather than follow a linear path.

(Eric Thayer / Los Angeles Times)

Can you go back to the beginning and talk about the core concept for the museum?

There are three major things that I always have to answer, whatever I do. What does the building do with the place? Does it help the place? Does it interpret the place? And then, what is the content of the building? What does the building have to do? Why are we building this?

To start out, there was a museum here which was modeled a bit after Lincoln Center. Later, it got clogged up with new buildings and you didn’t recognize the initial idea anymore. These things we took away. Whenever a building is there, whether it’s beautiful or ugly, it will always have grown into the soul of somebody. There will always be people saying, “No, no, I want to keep it.” This is part of my life. I understand this kind of thing always comes up.

The place was rather difficult because I couldn’t see any big urbanistic concept in L.A. L.A. [is] not urban in the European sense with, for instance, the market square.

There was a master plan, which was made by Renzo Piano. And this presented a long axis, and I tried to follow it. It just did not feel right. So I started to react in a more organic way, inspired by the tar pits. This whole area, which to me, is the ancient part of the site, became the starting point.

There was more: like the idea that side light is the most human light. Yeah, no skylights. And another thing was the museum had to be open to its surroundings. So contemporary L.A. should be present at all times. It should come in, whenever you can look out.

Another important thing … was to create or enlarge the public space that Michael [Govan] had started to create between his buildings. Friday evenings, Saturday, you saw so many families there. There is a desire here, a wish, for public space. This is not exactly the strength of L.A. So I think it was amazing that we were allowed to lift up the building and have the whole ground free for people.

Also, let’s do the museum on one level only. Classical museums have a main level, then they have a second level and a third level, a south wing and north wing and so on. And then, as an artist, you can have your work on the main level in the most beautiful spot. But as an artist, you can also land top left, third level near to the attic. So let’s make a building type which treats everybody equal.

LACMA’s David Geffen Galleries are hoisted above the ground on discrete piers, allowing for ample public space below.

(Eric Thayer / Los Angeles Times)

And then we started to think about how we wanted something open for wandering, experiencing and dreaming. This is always difficult to explain — let’s have the knowledge of art, of the history of art, coming second. It’s not because I think this is a secondary thing. It’s just because our experience should come first.

As a boy, I saw the opposite. There’s a tour and there’s a guide, and the guide starts to tell you what you should think. And I never liked this. We thought we should lay out things on a big plane where you can stroll and wander and develop your interest in art. Follow your own path.

You’re overturning a lot of unspoken rules in the art world. And I guess that’s the point in a lot of ways?

This is our point. You see other rules. For instance, if you do a new museum, the conservators say art can be exposed to less daylight. I told them as a joke, “If it goes on like this, soon the art will be in the basement, locked away.”

We have a building wide and long enough that within the building, you can find strong daylight for, let’s say, china or pottery, which love daylight. Then you can go deep into the building where it gets darker, and you can put pieces you don’t want to expose too much to the light. All without having to flip a switch.

FORGET boring beige hotels and predictable pillows.

Whether you’re lounging on a luxe boutique ship, sipping cocktails in a quirky hub, or waking up in a treehouse — these unique escapes are redefining city stays.

These super-cool stays in two of the UK’s capital cities are perfect weekenders, says Sub-Editor Milcah Fajardo.

Fingal, Edinburgh

THE PAD

Roll your suitcase along the Port of Leith, and you’ll soon find yourself at the red carpet to this five-star floating hotel.

From the art deco finishings to the grand ballroom, it exudes glamour.

But even after a £5million glow-up, the former Northern Lighthouse Board ship retains its history, preserved in the Engine Room and nautical details.

WAIL OF A TIME

I drove Irish Route 66 with deserted golden beaches and pirate-like islands

TEMPTED?

Tiny ‘Bali of Europe’ town with stunning beaches, €3 cocktails and £20 flights

Luxury cabins feature super-king beds, tartan textiles and a balcony with dock views.

Plus, the jade-green bathroom with brass taps and rain shower is like something from my Pinterest board.

Meanwhile, The Lighthouse restaurant is award-winning for good reason.

Beneath the hammered gold ceiling, we dine on truffle scrambled eggs on toast, £15, and porridge brûlée, £9.50, for breakfast.

Dinner is superb, too, as we tuck into delicate duck ravioli with wild mushrooms, sage and parmesan foam, £15, beef cheek in a périgourdine sauce, £38, and creamy Basque cheesecake with honey ice cream, £11.

EXPLORE

Visit The Royal Yacht Britannia, a stone’s throw from Fingal.

The self-guided tour will take you from the Royals’ quarters and grand state dining room to life below deck for crew.

Entry is free for Fingal guests (Royalyachtbritannia.co.uk).

And you have to visit Edinburgh Castle, even if you skip gaping at the sparkling crown jewels and just hike up for the views.

Entry costs £21.50 (Edinburghcastle.scot).

For handmade souvenirs and local eats, Stockbridge Market is open every Sunday.

We defy you to resist the hog-roast buns with apple sauce, £10, or the haggis sausage rolls, £4 (Stockbridgemarket.com).

REFUEL

Leith eatery Barry Fish does seafood so well that it landed them a spot in the Michelin Guide.

The addictive fish pastrami, £14, and flaky sea trout in a buttery shrimp sauce, £25, won’t disappoint (Barryfish.co.uk).

Also nearby is Alby’s, where hot focaccia sarnies filled with gooey ‘nduja cauliflower cheese, £12.50, and succulent chicken pakora, spiced onions and lettuce, £13.50, are to die for (Albysleith.co.uk).

Tucked away in the centre is games bar Mortal Kocktail – sink a pint with a few rounds on the vintage pinball machines (@Mortalkocktail).

Or experience Scottish cuisine like no other at Badger & Co – sample exquisite Scotsman scallops topped with haggis, neeps and samphire, £14, juicy Highland wagyu burger, £22, and rich blackberry jam teacake, £9.50 (Badgerandco.com).

DON’T MISS

The Johnnie Walker Signature Experience, from £30, is as fascinating as it is boozy.

Learn about the founder and your own whisky palate, then head to the rooftop for a wee dram while gazing at the gorgeous skyline (Johnniewalker.com).

BOOK IT

Double cabins at Fingal cost from £317 B&B (Fingal.co.uk).

Moxy Belfast City, Belfast

THE PAD

Written across the mirror in pink are the words: “Welcome, Milcah. A good story starts here!”

And they’re not wrong.

Rooms at this central spot are minimalist, but come with huge waterfall showers, Lily O’Brien’s chocs and very handy rain macs.

Refreshing welcome cocktails of gin, elderflower and cranberry set the tone, as does the vibrant lobby, where industrial chic meets playful pop art.

Later, the Wake-Up Call, £11 – a poitín-spiked espresso martini – pairs well with loaded nachos, £10.50, and saucy barbecue wings, £9, in the bar.

Come morning, we find a buzzing breakfast service with a handful of fry-up options and a continental spread.

EXPLORE

Nearby, St George’s Market is home to stalls selling everything from vinyl and vintage wares to Cuban street food – make a beeline for Belfast Bap Co’s humongous bacon rolls, £9.

Next, ride the hop-on-hop-off bus, £19, to stop by the peaceful Botanic Gardens, learn all about the Troubles at Ulster Museum (Ulstermuseum.org), spot incredible street murals and take in the poignant Peace Walls (City-sightseeing.com).

Finally, at Thompson Dock you’ll find Titanic Distillers – the city’s first whisky distillery since Prohibition. Discover the craft and sample it on a one-hour tour, £25 (Titanicdistillers.com).

REFUEL

Hit the bustling Cathedral Quarter for excellent pubs.

Don’t miss Kelly’s Cellars – built in 1720, it is Belfast’s oldest pub, and you can expect lively traditional performances alongside your Guinness, £5.80 (Kellyscellars.co.uk).

Head upstairs at The Morning Star, a short stroll away, for treats including stout-and-treacle-braised beef with hispi cabbage, champ and bordelaise sauce, £24, in the classy dining room (Themorningstarbar.co.uk/the-lounge).

Finish your night in opulent townhouse bar Margot, sipping an indulgent Four Storeys cocktail – a mix of bourbon, amaro, cola syrup and chocolate bitters, £13 – in the snazzy leopard-print snug (Margotbelfast.com).

DON’T MISS

At Titanic Belfast, travel back in time to the ship’s construction and even listen to the last SOS messages from its crew – it’s both immersive and compelling.

Entry costs £24.95 (Titanicbelfast.com).

BOOK IT

Double rooms at Moxy Belfast City cost from £109 B&B (Marriott.com).

Meanwhile, Lifestyle Editor Catherine Bennion-Pedley found a tree-mendous family break in the capital of the north.

Treehouse Hotel, Manchester

THE PAD

After a stay with The Magic Faraway Tree vibes? Found!

This place is all stained-glass features, cascading foliage and cute birdhouses in the heart of the city.

Kids are given wooden tiles to illustrate, then add to the decor, while screening room Flix plays family films in the school hols.

At eatery Pip, Old Winchester gougères, £5, and Lancashire hotpot, £26, steal the show, as do the sherry-based cobblers, £11, while children will be suitably chuffed with home-made fish and chips, £9.

Come morning, roll out of bed for Derbyshire oatcakes with ham and eggs, before hitting shopping heaven on Market Street.

EXPLORE

From Squid Game to Paw Patrol, Immersive Gamebox in the Arndale Centre offers challenges to conquer as a team, and it’s quite a workout!

One-hour games cost from £28 per adult and £18 per child (Immersivegamebox.com).

Equally close is the Museum of Illusions, with its mind-bending displays and photo opps aplenty.

Entry costs £25.50 for adults, £21.50 for over-fives (Moimanchester.com).

Elsewhere, dive into a giant ballpit, crack the dazzling light maze and stand inside an actual bubble at Bubble Planet.

Tickets cost £16.90 per adult, £12.90 for over-threes (Bubble-planet.com).

REFUEL

Buzzy foodhall Mackie Mayor will please the whole crew – the barbecue burger at Mumma’s Fried Chicken, £12.50, and Pico’s Tacos’ frozen margaritas, £17 for two, are standouts (Mackie-mayor.co.uk).

Need a post-shop sugar hit?

Head to Haute Dolci Deansgate for pistachio-cream-smothered pancakes with raspberries and gelato, £12.50 (Hautedolci.co.uk).

Or scoff top-notch paccheri Genovese – large pasta tubes tossed in beef ragu – £16.90, and pizzas at Vincenzo Trattoria (Vincenzomanchester.co.uk).

DON’T MISS

Feel a piece of the moon, program an interplanetary rover and discover what the planets smell like at the Science And Industry Museum’s new Horrible Science: Cosmic Chaos exhibition, £10 for over-fours (Scienceandindustrymuseum.org.uk).

BOOK IT

Family stays at Treehouse Manchester cost from £190 B&B (Treehousehotels.com/manchester).

Caracas has two avenues known as “Cotas”: Cota Mil, also known as Boyacá Avenue, which borders the Waraira Repano national park from East to West on the North edge of the capital. And Cota 905, or Guzmán Blanco Avenue, which heads south. In both cases, the name refers to their altitude above sea level.

Cota 905 was inaugurated by Marcos Pérez Jiménez in 1953. Years later, Venezuelan families began building informal settlements around it. By the late 1970s, it had become a complex area, with difficult access that to some extent isolated it from the rest of the city. 

Between 2014 and 2021, armed gangs took control of the area, turning it into the city’s most dangerous barrio, terrorizing 300,000 residents and ensuring that not even the garbage collection service dared to enter. Every day we heard news of clashes with police forces or even of the “occupied territory” expanding into nearby areas.

Over these years, the government alternated between attempts to negotiate with the gangs –in an effort to turn the neighborhood into a “peace zone” –and a “heavy-handed” crackdown on crime. There were police operations as part of the so-called “Operation Liberation of the People” (OLP), followed by raids by the elite FAES unit. Finally, the massive “Operation Gran Cacique Indio Guaicaipuro” was launched in 2021, with the establishment of 34 checkpoints in what appeared to be an invasion of enemy territory by security forces.

Although no one questioned the need for the government to regain control of Cota 905, Operation Cacique Guaicaipuro sparked strong criticism of police actions, including the arrest of dozens of young people who were later proven to have no connection to criminal gangs. The barrio’s kingpin, Carlos Luis Revete, alias “El Koki,” escaped the operation but was killed months later in a shootout near Caracas. 

Since then, residents of the area have noted a decline in crime and drug trafficking. However, they complain that the government should follow up its intervention by addressing other basic needs: street cleaning, improving services, replacing damaged roofs, creating decent spaces for education, culture, sports, and recreation, generating local employment. Above all, there was also the issue of lifting the stigma after all those years. Making people understand that Cota 905 produces more than just criminals.

Still, in Venezuela, whenever the state takes a step back, organized communities step forward. One initiative I had the chance to get to know was “The Cota 905 Tour: A Thousand Stories, Over a Hundred Murals, One Route,” a community-led cultural tour that transforms the neighborhood into an open-air art gallery.

This project was conceived by Jefferson Cárdenas, a young man known as “Gorra,” who spent a couple of years in prison for theft and weapons possession until another group came to his rescue: Free Convict, a Venezuelan hip-hop group made up of former inmates and prisoners who use music as a tool for social reintegration and personal transformation. In fact, many of these rappers have joined him in this new social initiative. 

Jefferson recruited a couple of neighbors and began taking out trash, clearing brush, sweeping, and installing light bulbs. Little by little, other neighbors started donating small amounts of cement or paint they had stored at home. Some neighbors –who are currently out of the country –also did their part. So did some small business owners in the neighborhood: from the owner of a 30-year-old bodega that is a neighborhood institution, to newer ventures like a pizzeria (which I highly recommend!) and a bakery. Meanwhile, graffiti artists and muralists also decided to contribute their art for free.

To begin the tour, it takes some effort to go up an endless amount of painted staircases that are a testament to urban creativity. Then, amid its labyrinthine streets, we witness murals on walls and house façades. Over a dozen artists and collectives contributed more than 100 artworks.

The key word if self-management. The initiative has relied on grassroots organizations in the barrio and also helped them reactivate.

But the tour isn’t just about taking in the views. Visitors are joined by local historians, and there are impromptu concerts, theater plays designed to raise awareness, traditional games, local cuisine, and even souvenirs for sale featuring positive messages about Cota 905. Given its success, the organizers are considering new possibilities, such as tours at sunrise or sunset.

The Venezuelan government, which in recent years has launched various initiatives in Cota 905 but without much consistency, has acknowledged the tour success. The Ministry of Tourism has officially recognized it, and even groups of foreign tourists have come to experience it.

Jefferson’s team has helped redefine the Cota 905 territory. Artists and musicians now come here to shoot music videos, taking advantage of the incredible views. The most breathtaking photos are taken from the so-called “Eye of God,” a spot that lives up to its name, reaching a height of 1,200 meters. Once used by criminals to maintain control over the city, it is now a local attraction.

To those who might be reluctant to visit Cota 905, Jefferson responds clearly: “I didn’t agree with the police operations –there were too many clashes between law enforcement and gangs. It was a war, but ultimately the state had to do something. This neighborhood was a problem for all of Venezuela, but today we want to be part of the solution. We need these initiatives to work because there are still many kids waiting for opportunities: before, they were given radios, drugs, and weapons; today we want to give them paint, balls, and microphones, so they’re seen in the media as an example and not as a tragedy.” 

The group, which tries to stay away from strong political or religious stances, wants to grow food, introduce horseback rides, and more. “This mountain was hurt,” Jefferson continues. “My brother was killed but my son was born here. We have plenty of reasons to commit to this barrio. Hopefully authorities could give us a helicopter ride so we could point out from above everything that needs fixing. But until then, we’ll continue with our work.”

The story of Cota 905 is not unique, nor is it a novelty. The barrios in the major Venezuelan cities, Caracas above all, have always had to overcome marginalization. When Chávez came to power, many of them remained as “green spaces” in local maps, even though they were home to hundreds of thousands of families in piled-up hillside houses. And if they were classified as green areas, it meant they had no public services nor were they part of public policies. But that never stopped the people from organizing to defend their rights, resist against state violence, and build a future together.Venezuelan barrios can be precarious, hostile, violent. But if we are willing to walk and listen to them, we realize that they are also spaces of profound beauty and solidarity. The struggle continues.

Most Angelenos know Frank Gehry as the rebel architect whose deconstructivist buildings reinvigorated L.A. amid its late-century identity crisis.

Fewer know him as the sentimental sculptor celebrated in Gagosian Beverly Hills’ upcoming “Frank Gehry” exhibition, the first to showcase Gehry’s work since his death in December. Curated by those who worked with and loved the famous architect, the show, scheduled to open May 14 and run through June 27, is equal parts tribute and art presentation. It will feature several of Gehry’s animal-themed sculptures, including a rarely seen stainless steel bear figure, on loan from the artist’s family.

The exhibition will also include the first public screening of Gehry’s entry in Gagosian Premieres, a series of videos by the gallery showcasing new art exhibitions through a mix of intimate artist interviews, studio visits and specialized musical performances.

By spotlighting Gehry’s artistic practice rather than his design ouevre — which includes Walt Disney Concert Hall, Guggenheim Museum Bilbao and Fondation Louis Vuitton — the exhibition reveals a different side of the late visionary, said Deborah McLeod, senior director at Gagosian Beverly Hills.

“I wouldn’t say it’s a retrospective, but it is a chance to stand in the room and be with him,” McLeod said, adding that she “wouldn’t have the hubris to say this is going to offer anybody closure,” but that she hopes it will help people — especially those who worked closest with Gehry — to process his loss.

“Everybody is kind of raw and missing Frank, and it’s just a chance to come together and do this again as his team,” she said.

McLeod curated the exhibition alongside Meaghan Lloyd, chief of staff and partner at Gehry Partners, whom the director said “really speaks for Frank.” Gehry‘s studio will design the show, which was realized in collaboration with the artist’s family.

“We didn’t get a chance to put one in the gallery proper. Every time we’d make one, it would get sold,” Deborah McLeod said about Frank Gehry’s bear sculptures.

(© Frank O. Gehry. Photo: Benjamin Lee Ritchie Handler / Courtesy Gogosian)

The highlight of the Gagosian exhibition is an artist proof of “Bear with Us” (2014), which the gallery lifted out of Gehry’s wife Berta Aguilera’s garden with a crane. Another edition of the bear sculpture is on view at the New Orleans Museum of Art, but at Gagosian, the work for the first time will be on view as part of an exhibition.

The stainless steel figure has a crumpled appearance that many believe is the result of Gehry balling up a piece of paper and seeing the bear in the crumple, although McLeod said Gehry told her himself that wasn’t true. The director added that the bear’s form gives the illusion of something “coming into being or dissolving.” The sculpture will likely have the Gagosian’s north gallery completely to itself.

“We’re really going to give him his due,” McLeod said. It was only right for a piece that, to her, reads as Gehry’s “self-portrait.”

A handful of other animal-themed sculptures will populate the south gallery, including a glowing black crocodile, gouache-painted papier-mâché snake lamps, and “Fish on Fire” (2023), the last of Gehry’s fish sculptures to be rendered in copper. Illuminated within the darkened gallery, the pieces will have a “magical” flair, McLeod said.

The first fish sculptures Gehry made in the ’80s were contained, even still. But when he returned to the fish form 30 years later, Mcleod said, “they started to become actually Baroque, so that’s kind of neat to see that evolution.”

Rounding out the exhibition are a series of ink, watercolor and acrylic works on paper that “express the energetic motion of fish in networks of black line and clouds of color,” a news release said.

A portion of the pieces in the exhibition will be available for purchase, with a detailed checklist to come.

The first Frank Gehry Fish Lamps were exhibited in 1984 at Gagosian in Los Angeles.

(© Frank O. Gehry. Photo: Robert McKeever / Courtesy Gagosian)

Gehry’s designs breathed life into the city’s core, but he didn’t get to finish a number of his most exciting plans, including one to transform the 51-mile-long L.A. River.

And while his architecture was his great gift to his adoptive hometown — his art was his gift to himself.

“As one of the busiest architects in the world, imagine the math and the minutiae that you have to go through,” McLeod said, noting the enormous pressure from clients that Gehry must have felt in his daily practice.

“For him, just to make something the shape he wants to make it, plug it in … I know it was a huge relief for him,” she said. “I know how much he loved doing it, and I loved being a part of that part of his life.”

Finding a revolutionary artist during cocktail hour at the opening gala of Los Angeles County Museum of Art’s new David Geffen Galleries was like shooting fish in a barrel.

Gaze over the rim of your glass to notice Jeff Koons and Ed Ruscha talking closely beside the DJ booth. Mark Bradford strides by with a beneficent smile — towering over everyone, including AI art maker Refik Anadol. Todd Gray, whose 27-foot-long photo sculpture “Octavia’s Gaze” graces the hallway near the building’s south entrance, chats with Wim Wenders, who is making a documentary about architect Peter Zumthor’s controversial new $724 million concrete behemoth. Zumthor is there too — in bright red sneakers — talking to LACMA director and chief executive Michael Govan before Govan turns to take a selfie with immersive installation artist Do Ho Suh.

Jeff Koons, left, talks with Ed Ruscha at the opening gala for LACMA’s new David Geffen Galleries on Thursday.

(Jessica Gelt / Los Angeles Times)

Lauren Halsey walks by in her distinctive white shirt, long shorts and ball cap, beset on all sides by friends and admirers.

“It’s beautiful, it’s fantastic,” she said of Zumthor’s creation.

It’s an artist’s world on this breezy evening, as the sun sets golden over the looming gray concrete of the building, and the lights that gird the structure’s underbelly flicker on and twinkle like stars overhead. In this milieu, Hollywood A-listers like Will Ferrell and Sharon Stone, who occupy separate cliques nearby, pale in comparison to the mingling artistic luminaries.

Architect Peter Zumthor, left, and Michael Govan attend LACMA’s opening gala for the David Geffen Galleries. Govan said he hopes the building lasts 500 years.

(Gina Ferazzi / Los Angeles Times)

“It’s ready for us,” Bradford said of the building. “It’s ready for artists. I walked in and I was overwhelmed with a space that was made for us, and I can’t wait for everything I can do.”

“Snazzy. Does the job,” said Ruscha, looking bemused and speaking in short bursts of headline-style phrases like one of his famous paintings.

Gray said he was glad to see his art during “magic hour,” noting how the setting sun shone warm through the building’s glass windows — diffused by textile designer Reiko Sudo’s chromium spattered curtains — to imbue his photo installation with a distinctive warmth.

“I’ve never seen it at dusk,” Gray said with a smile. “It was a totally different experience to see it at that time of day. And [the light was] actually yellow, so the piece changed … and the concrete warmed up because of that warmer light. It was a lovely chromatic experience, which is wonderful because then you’re aware that you’re experiencing something in a very particular space and time.”

James Goldstein, the owner of architect John Lautner’s famed Sheats-Goldstein Residence, which he promised as a gift to LACMA in 2016, agreed with Gray that the gloaming light was lovely.

“If it were up to me the curtains wouldn’t be closed,” Goldstein said, noting that the curtains in his home — which is also made of concrete and glass — are never closed, and that the views from the Geffen Galleries are extraordinary and worth leaning into.

Koons said the building, and the moment in time that defines its unveiling, has the potential to bring the world together.

“It’s an amazing evening for all these people that love and believe in the value of art and humanity to be together and to celebrate architecture,” said Koons, noting that he looks forward to showing his art inside the new galleries. “LACMA is a place that’s here for future generations and Peter’s building is amazing.”

Will Ferrell and Viveca Paulin were among the major Hollywood stars at the gala.

(Gina Ferazzi / Los Angeles Times)

Chatter about the building could be heard in every cluster of guests. One group talked about how striking it was to see ancient Greek sculptures juxtaposed against the rush of traffic along Wilshire Boulevard; another discussed their hope for more landscaping, noting that the concrete ground and concrete building begged for some lush greenery.

Govan basked in the limelight nearby, shaking hands and doling out hugs and back pats. His vision for the building has been 20 years in the making, and he’s faced an enormous amount of pushback, but the structure is here and his enthusiasm for it has not waned.

“I’ve just always imagined people in the building — it’s for people,” Govan said. “And I want it to last 500 years, I want those little drill marks to accumulate, I want change. I want this to be something that generations will care for.”

Zumthor also seemed deeply pleased with the moment, saying, “I’ve always been happy,” and emphasized that working in L.A. taught him to embrace a certain frontier-like lack of refinement.

LACMA’s staff was elated, especially those who have been watching the project develop for decades and absorbing the large amounts of criticism that have accompanied its manifestation.

Stephanie Barron, LACMA’s senior curator and modern art department head, said, “This is the first night with our art world colleagues and donors, and it’s thrilling to see how they are responding, and how they are a little confused, at first, about where to go. Then they realize, that’s the point of this — and they are just going with the flow and they are smiling and happy and looking at the art. It’s a game changer.”

“I’ve been here nearly 20 years and seeing this going from concept to reality has been the greatest thing,” said Tiffany August, associate vice president of LACMA’s people and culture department, which oversees human resources. “So much soul and heart and effort went into this.”

Arun Mathai, budget officer and head of finance, has also been with the museum for 20 years and said it’s exciting to finally be on the other side of the project. “To see it happen in such a beautiful way is very gratifying. The notion of no hierarchy, of wandering around and seeing art from all over the world, from all time periods beautifully juxtaposed, it’s just so enlightening,” Mathai said.

Michael Govan, left, Peter Zumthor, Holly J. Mitchell and Mayor Karen Bass attend the opening gala.

(Gina Ferazzi / Los Angeles Times)

Later, during a four-course meal of broiled oysters, tuna tostadas, braised Wagyu short ribs and berry meringue, various LACMA supporters, including board co-chair Tony Ressler; life trustee and major donor Lynda Resnick; and L.A. County Supervisor Holly J. Mitchell, whose district houses LACMA, took to the stage in a tent set up west of the new building to sing the praises of the Geffen Galleries — and to note that the evening’s dinner raised a record-setting $11.5 million. (The Geffen Galleries’ ongoing fundraising campaign now stands at $869 million.)

“This is a great, great example of what can be achieved when government and philanthropy work hand in hand for the public good,” Ressler said before thanking Govan for “taking bold risks.” “Your legacy is now permanently etched in the stunning galleries that will open to the public very soon.”

Mitchell was full of praise for Govan and Zumthor.

“The Geffen Galleries didn’t come to fruition overnight. And frankly, nothing that changes the status quo ever does,” Mitchell said. “To Michael, Peter, David [Geffen] and our dear Elaine [Wynn], thank you for your patience, because visionaries like yourselves often have to wait for the rest of the world to catch up with you.”

Resnick got a big laugh when she described her first meeting with Govan and his wife 21 years ago.

“An exquisite couple walked into [vice chair of the board] Bobby Kotick’s house. There was Michael Govan, a true intellectual, Zen thinker, movie star handsome, and under consideration to run LACMA. By the end of the evening, I was sitting on his lap feeding him peeled grapes.”

She concluded on a more serious note, calling the Geffen Galleries a “masterpiece of public art.” “Only one person in the world could have done all this with the signature elegance and his provocative style,” she said of Govan. “Generations will cross that bridge and watch the cars stream below, and feel the power of being embraced by art above all the gorgeous chaos of our city.”

After a standing ovation, Govan introduced musicians Sean Watkins, Gabe Witcher and T Bone Burnett, who sang — quite fittingly — “The Times They Are A-Changin.’”