Hayward Gallery, London
From a hut that plays music as if it’s history’s jukebox to a rocket fuelled with sugarcane, the Bahamian makes art freighted with history and peopled by the overlooked and flawed

‘You belong here,” reads the neon sign high on one of the Hayward Gallery’s exterior walls, in a curving handwritten script. But where are we and what does belonging mean? That’s what Bahamian artist Tavares Strachan asks in There Is Light Somewhere, which fills the building. Origins and arrivals, disappearances and sudden returns have a big part to play in Strachan’s art.

Along the way, the artist has walked to the north pole, following Black polar explorer Matthew Henson, and taken a block of arctic ice back to the Bahamas. He has trained as an astronaut in Russia and blasted a sugarcane-fuelled rocket into the stratosphere, as part of a programme to interest young Bahamians in science and technology, and to further whatever dreams they have of escape. Referencing sports and reggae, untold lives, the writings of James Baldwin and Black astronaut Robert Henry Lawrence Jr, Strachan’s art is always encyclopaedic, engrossing, disconcerting and engaging. Neon figures sizzle with life. Writing flares on a black wall. Highly crafted sculptures rise from living fields of rice and sounds fill the air.

Tavares Strachan: There Is Light Somewhere is at the Hayward Gallery, London, 18 June to 1 September

Courtauld Gallery, London
‘Take our picture, mister!’ they shouted at Mayne, who not only captured children on the streets of postwar London, but helped turn photography into an art form

In its 92-year history, the Courtauld Gallery in London has never acquired or exhibited photography – until now. Its inaugural exhibition is Roger Mayne: Youth, devoted to some 60 works by the self-taught British photographer best known for his documents of working-class children on the poor and battered streets of postwar London.

When trying to open up programmes to new audiences, photography is a natural step for any institution that has previously ignored the medium. Mayne seems a safe choice for a gallery known mostly for its collection of impressionist and post-impressionist paintings, one its usual audiences might not balk at. They might compare Mayne’s populated group shots to impressionism’s busy scenes of people at leisure. Even the ideas of the impressionists somewhat inform Mayne’s approach to documentary photography – the notion that there is a difference between what is in front of you and what you see.

He has worked with Miu Miu and shot Zendaya for Luca Guadagnino. But Alessio Bolzoni also makes artworks – from strangers’ bottom halves to people striking twisted poses while concealing their faces

Halfway through our interview, I tell Alessio Bolzoni that he is unusual: a fashion photographer without an ego. He snorts with laughter. “There’s no way you can do the work and share it with people without a bit of ego,” he says. “But I try to talk to it and work with it.”

Bolzoni’s ego has certainly been stroked recently: he worked on campaigns for brand-of-the-moment Miu Miu and took some very sweaty and sexy on-court shots of Zendaya, Mike Faist and Josh O’Connor to promote Luca Guadagnino’s stylish tennis film Challengers. But alongside this, the Italian-born photographer also produces artwork. An exhibition, There’s a Fine Line Between Love and Hate, You See, opens this month at VO Curations gallery in London.

Madrid’s yearly photography festival has shone light on new photographers, established industry names, and artists whose work has gone unrecognised for decades

By the end of September, PhotoEspaña, Madrid’s yearly photography festival, will have hosted more than 80 exhibitions featuring the work of nearly 300 photographers and visual artists. Shows by established figures such as Elliott Erwitt, Paloma Navares, David Goldblatt and Erwin Olaf lead a roster that also includes less familiar names, Lúa Ribeira, the Widline Cadet and Consuelo Kanaga among them.

Above: Erwin Olaf’s Narratives of emancipation, desire and intimacy at Fernan Gomez cultural centre. Photograph: La Fabrica. Right: Boris Savelev’s Viewfinder – A way of looking, at the Serrería Belga. Photograph: Oak Taylor Smith

Actor and comedian says it would be ‘classy’ move if British Museum returned the ancient sculptures to Greece

Stephen Fry has likened the removal of the Parthenon marbles from Greece to Nazi Germany stealing the Arc de Triomphe during the occupation of France, and he thinks it would be “classy” if the British Museum returned the ancient sculptures to their original home.

Fry made the comments on the Australian TV series Stuff the British Stole, which airs on the ABC on Monday night.

He’s renowned for big-budget museums and galleries. But the architect’s long-term project in Galicia, northern Spain is all about fundamental, low-key ways to change communities for the better

“We find ourselves doing workshops on seaweed growth,” says David Chipperfield, the much-honoured and acclaimed British architect, and “there are moments when you’re thinking: ‘Remind me, what has this got to do with architecture? What am I doing here?’” This unlikeliness, though, is part of the point of Fundación RIA, the seven-year-old organisation that Chipperfield set up in the north-western Spanish region of Galicia, which aims to help revive its towns and villages, often depopulated and fractured by poor planning decisions. The endeavour involves environmental and economic issues as well as design, hence the excursions into marine biology.

It is a case of thinking global and acting local. Fundación RIA (which is named after the rias or inlets of the Galician coast) proceeds by consultation, talking to local people and businesses, to politicians and officials at various levels of government, and using contacts built up by Chipperfield’s international practice. “You find yourself at a meeting with old people on Tuesday nights,” he says, “talking about speed limits.” At other times they bring in experts from the London School of Economics and the Massachusetts Institute of Technology, and the technologically advanced Swiss timber company Blumer-Lehmann. Next month the foundation will open Casa RIA, a converted sanatorium in Santiago de Compostela, where spaces for exhibitions and discussions are intended to create “a place of exchange and application of knowledge”.

Lindokuhle Sobekwa has made a moving attempt to retrace the steps of a sibling, now dead, whose decade-long absence left a hole at his family’s heart

When the photographer Lindokuhle Sobekwa was six years old, his half-sister Ziyanda disappeared. On the day in question, the siblings had had a fight, Ziyanda, who was about to turn 13, having demanded that he hand over some money he’d been given by his father. Lindo refused, and ran away, and his rebellious sister duly chased after him. But then, disaster. He wasn’t concentrating on the traffic; a car hit him, an accident that broke his spine. He would spend the next three months in hospital. Ziyanda, though, kept on running, not even stopping to check up on him. It would be 11 years before he saw her again.

No one in the family knew where she was until, in 2013, Lindo’s mother discovered that she was living in a hostel not far from the family’s shack in Thokoza, a township east of Johannesburg. She was very ill, and there were scars on her back, but now she came home at last, no longer the wild girl of old. Her brother was angry. He had a lot of questions. But the two of them didn’t talk much. She needed to rest, and something told Lindo, then about to finish secondary school, that he should tread carefully.

London gallery shows intimate images, including portraits of the artist, that reveal a great talent in her own right

Dora Maar is renowned as Pablo Picasso’s “weeping woman”, the anguished lover who inspired him to repeatedly portray her in tears. Now a London gallery is seeking to re-establish her as a pioneering surrealist artist in her own right, with an exhibition showcasing photographs recently discovered in her estate.

The exhibition, which opens at the Amar Gallery in London on 16 June, will include rare surrealist photograms and intimate photographs dating from her time with Picasso. These include two extraordinary portraits of him from the 1930s and one charting the creation of his anti-fascist masterpiece, Guernica, in his studio surrounded by paint pots. The works were bought at auction from Maar’s estate two years ago and have never been exhibited in a public gallery before.

Lingchi, or “death by a thousand cuts”, was a particularly brutal form of execution practised in Asia in ancient times: the condemned person was tied to a post and body parts were slowly sliced off one by one. The Indian-born photographer Sujata Setia uses this barbaric practice in her series A Thousand Cuts as a potent metaphor for a different kind of brutality – domestic abuse. In collaboration with the charity Shewise, Setia spent two years photographing survivors of abuse among the UK’s south Asian community. Using saanjhi, the Indian art of paper-cutting, she makes vivid red cuts in her portraits to express her subjects’ anguish: “I wanted to show how the scars are not only external but internal,” she says. Having grown up witnessing domestic violence, Setia initially resisted turning the camera on herself. “But there came a point where I realised I had to own my own scars.” Taking her own portrait and placing it alongside the others in the series has been “absolutely the most healing process,” she says.

• Setia is the winner of the creative category of the Sony world photography awards 2024, professional competition. The 2024 awards book is available to buy at worldphoto.org. In the UK, the national domestic abuse helpline is 0808 2000 247, or visit womensaid.org.uk

The student on the image she took while working on a series for her photography A-level

Aleesha Coker, then 17, and her two younger sisters, Freda and Bintu, had stopped off at the corner shop for a snack on their way home from school. Coker had been working on a series for her photography A-level, shooting through glass from exterior to interior. As the girls passed by a payphone in Lorrimore Square, south London, Coker was inspired to set up a moment. She used an iPhone 12 set to portrait mode – “I don’t particularly enjoy using film cameras,” she says – and was pleased with how “the muted colours gave it an intimate feeling”.

“As their older sister, I feel a responsibility to protect them and be a role model. Freda is 13. She’s very quiet most of the time, but can be loud when she feels comfortable. Bintu is 10; she has a very bubbly character and can be outspoken. “I don’t think their expressions in the photograph necessarily reflect the excitable parts of their personalities,” she says, “but something deeper. When my little sisters gaze at the camera in this way, I’m reminded of how much they trust me.”

A teenage Riley gets to know Anxiety and Envy in the Pixar animated sequel, and Westeros descends into civil war as the Game of Thrones prequel returns

Inside Out 2
Out now
The first Inside Out gave us five personified emotions living inside the mind of 11-year-old Riley. Now a teen, Riley and her brain must contend with the arrival of new emotions, including Anxiety (voiced by Maya Hawke), Envy (Ayo Edebiri), Ennui (Adèle Exarchopoulos) and Embarrassment (Paul Walter Hauser).

War in Gaza, protests in Buenos Aires, a thunderstorm in Omaha and high temperatures in Athens: the last seven days as captured by the world’s leading photojournalists

The 11th edition of 3daysofdesign favours family businesses over tech startups, with over 400 designers (including a Norwegian postman) exhibiting work

At the Verpan showroom, a space dedicated to the work of Verner Panton, the renowned Danish designer’s daughter Carin Panton von Halem regaled a rapt audience with an anecdote. Apparently when Panton’s cone chair was displayed in a New York shop window in the late 1950s, it had to be removed by the police after drivers distracted by the tomato red seat got into a road accident. She also had stories about how the neighbours of the Pantons’ famous Hornbæk summer house started a petition to get him to change the bright green exterior of the holiday home.

Over at the Hem furniture shop, Finnish designer Yrjö Kukkapuro’s daughter Isa gave an equally personal speech at the launch of the new edition of Kukkapuro’s experiment chair. She explained how the original launch of the chair coincided with the birth of her daughter Ida. Two wonderful creations.

London show illustrates 40-year career of first Black British model to front British Vogue, spanning fashion, culture and politics

Naomi Campbell has been reacquainting herself recently with London.

This week, she’s been running about town on the underground, reliving the journeys she used to take from Streatham to various schools across London, filming TikToks with content creators and putting in the hours promoting an exhibition at the V&A that chronicles her 40 years in fashion.

Fascinated by the objects on his mum’s fireplace and what they say about her, Orlando Gili embarked on a project to capture creatives’ collections

A mantelpiece is a place like no other. A snapshot of daily life in a home, it is solemn and esoteric, like a roadside shrine. The things that anchor us – the face of a beloved, a pebble from a favourite beach, pretty china out of reach of little hands – jostle for space with the fleeting joys of party invites and supermarket flowers. Pretty things, special things and funny things are strung together, like charms on a bracelet. Your own mantelpiece is a walk down memory lane that you can take from your sofa. Someone else’s is a set of clues to who they are.

For photographer Orlando Gili, the lure of the mantelpiece began, appropriately, at home. See the one below with the jug of parsley leaves beside mustard and marmalade pots? That’s his mum’s house. “A mantelpiece is a still life, but with so much personality it is also a portrait of the person, or people, whose house this is,” says Gili. His favourite mantelpieces are “a jumble of sentiment and appreciation of design. They belong to people with rich hinterlands.”

Co-founded before photo work was taken seriously as art, this Berlin venue is marking its half-century by celebrating the history of its collection – and the medium itself

When Annette Kicken’s late husband, Rudolf, founded a photo gallery in Aachen, Germany, in 1974, appreciation of photography as an art form was rare. Major German photographic museums, such as Museum Ludwig in Cologne or C/O Berlin, were years away from opening. In the UK, the National Portrait Gallery had only just appointed its first curator of photography. In the US, the Metropolitan Museum of Art would not establish a department of photographs until 1992. The number of galleries and collectors devoted to the medium was so small that they referred to themselves as an international “photo family”.

“It was a very, very small scene,” says Kicken, who joined the gallery in 1999. “There were very few institutional exhibitions. There was no market. Artists were forgotten, and their work was often just thrown away.”

Miles Astray subverts trend of artificial pictures muscling in on human photography, but is disqualified

Ever since the advent of generative AI, the age-old battle of man v machine has been looking decidedly one-sided. But one photographer, intent on making the case for pictures captured with the human eye, has taken the fight to his algorithm-powered rivals – and won.

Miles Astray subverted the idea of artificially generated pictures muscling in on human photography awards by submitting his own human-made image, Flamingone, to the AI category in a prestigious competition.

He was the Californian surfer boy who by day gave bogus tours of his London house – and by night held epic orgies. Now a real tour, about the ceramicist he fell in love with, is opening at the astonishing residence

Time seems to have stood still at Dennis Severs’ House. Its four-poster bed has been left unmade, half-empty glasses of wine sit on the table and breakfast has been only partly eaten. It’s as if its 18th-century residents have only just departed. Yet, astonishingly, these interiors were created in the 1980s, by an American with a vision of history drawn largely from watching British costume dramas on TV. The house, in the Spitalfields area of London, remains one of the city’s sublime eccentric gems – and it is about to evolve once more, with a new tour that tells the story of Severs himself and of the glorious queer lives of those who lived with him.

Severs was a blond Californian surfer boy fresh out of college when he arrived in London in 1967. It was there that he found the freedom to live openly as a gay man. With an inborn sense of theatricality and a well-tailored coachman’s outfit, Severs was a natural showman who hosted tours around London in an open carriage. After he spied the opportunity in 1979 to buy the then decrepit house for just £18,000, he moved in with little more than a bedroll, a candlestick and a chamber pot – then swiftly embarked upon a camp, do-it-yourself aesthetic, conjuring the interiors as his fantasia on historical themes.

From acid attack survivors to death-defying date farmers, these images capture the human race at its bravest and most vulnerable

The architecture room of the Royal Academy’s annual event has been turned into a mesmerising ‘museum of making’ by the Turner-prize winners, full of intriguing insights and mind-boggling exhibits

Slimy curtains made of seaweed and hog guts dangle from the ceiling in the central rotunda of the Royal Academy, with the look of slippery skins shed by some reptilian creature. They hang above a busy scene, where workbenches brim with half-finished maquettes and material samples, next to a teetering prototype of a structural stone tower and a plaster mould used to manufacture toilets. A brightly painted model of a Ghanaian coffin, shaped like a phoenix, stands on a plinth made of rubble, while pastel-hued tiles formed from crushed seashells hang on the wall nearby.

This is the architecture room of the RA Summer Exhibition – but not as we know it. The usual selection of little model buildings and impenetrable drawings, often sped through by baffled members of the visiting public, has been transformed this year into a mesmerising museum of making. It is the radical vision of Assemble, the young Turner prize-winning architecture collective, who were ushered into the hallowed ranks of Royal Academicians in 2022, and have breathed fresh life into how their rarefied discipline is shown here.

‘Sheep are Annie’s passion. She won an award with this north country cheviot. It’s put on a stand to keep it still’

I moved back home to rural North Yorkshire in 2016, where I met my partner, a farmer. When you spend a lot of time on a farm, you end up helping out. I’m not from a farming background so I joined a Facebook group for women in farming to feel a bit more supported. You can ask about practical things – no question is a stupid one.

I was photographing working-class women in agriculture when I started a residency with the Maltings in Berwick for my series Daughters of the Soil. I put out a call in that Facebook group asking if any women there would be up for being involved. Only five responded but there was a snowball effect: each one directed me to someone else.

Sam Hanna (1903-96), a pioneering film-maker from Burnley, Lancashire, was once called the ‘Lowry of film-making’. His work depicts people of all ages as they lived and worked in a region that was rapidly losing its economic role and industrial identity in postwar Britain. A collection of his work is available to view at the North West Film Archive at Manchester Metropolitan University

Round Our Way: Sam Hanna’s Visual Legacy by Heather Norris Nicholson is published by Pendle Press

Peeping pooches, five-year-old photobombers and a guest appearance from the Fab Four all feature in Shin Noguchi’s vibrant photography

Throughout his life, the great German playwright made punky montages that explored how Nazism infested the country he had to flee. Why have they taken so long to come to light?

Bertolt Brecht believed that theatre should not merely entertain its audience but make them think politically. To achieve this effect, thought the German playwright and poet, a play should not be polished – but jarring. Actors should break out of character to address their audience, plotlines should be broken up and interrupted. In one memorable phrase, he described his ideal play as one that could be “cut into individual pieces, which still remain fully capable of life”.

A new exhibition at Raven Row in London shows how literal the author of The Threepenny Opera was being when he came up with that description. Curated with the Bertolt Brecht Archive in Berlin, brecht: fragments is the most extensive display to date of the visual material the playwright collected over the course of his career, from newspaper and magazine pictures to photocopies of medieval paintings and images from Chinese theatre.

Enlarge (credit: bennymarty | iStock Editorial / Getty Images Plus)

Adobe has promised to update its terms of service to make it "abundantly clear" that the company will "never" train generative AI on creators' content after days of customer backlash, with some saying they would cancel Adobe subscriptions over its vague terms.

Users got upset last week when an Adobe pop-up informed them of updates to terms of use that seemed to give Adobe broad permissions to access user content, take ownership of that content, or train AI on that content. The pop-up forced users to agree to these terms to access Adobe apps, disrupting access to creatives' projects unless they immediately accepted them.

For any users unwilling to accept, canceling annual plans could trigger fees amounting to 50 percent of their remaining subscription cost. Adobe justifies collecting these fees because a "yearly subscription comes with a significant discount."

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Royal Academy, London
Pampered pets, polite portraits and enough wan landscapes to fill a field – this show mirrors the numbed, aimless condition of Britain after 14 years of Tory misrule

This year’s Royal Academy Summer Exhibition is best enjoyed as a mirror of the numbed, aimless condition of Britain after 14 years of Conservative government. It is a gasping death-rattle of mediocrity, a miserable garden party of vapid good taste. There are no laughs and precious few glimpses of good art. Nothing points to the future. All you will learn from it is that the small “c” conservatism of British middle-class culture has reached the end of its rope.

“Art Is in All of Us”, affirms a typically profound placard by Bob and Roberta Smith RA. If only. That radical-sounding statement might seem to promise a show that’s a wild, democratic, free-for-all romp. After all there are more than 1,700 works of art here, apparently chosen pretty much by flipping a coin. But it is almost all the same, all tepid, polite and pointless. In the same room as Smith’s platitude is a sculpture of two model ships with the leaden one-note wordplay title Worship-Warship and a pair of ugly, kitsch ceramic deer. For a moment I thought these were examples of outsider art. Bless. They are actually by Richard Wilson RA and Cathie Pilkington RA. Either these eminent artists have totally run out of ideas or they have submitted any old random items lying around their studios.

Families in Taranto, Italy, watch their kids play in polluted soil in the shadow of a steelworks, knowing that many people there have lost their lives to cancer. Lisa Sorgini captures their struggle

Destroyed artefacts in St Anne’s Anglican church include unique paintings by Group of Seven art collective

An early morning fire at a Toronto church has destroyed both a historic site and rare paintings by an acclaimed group of Canadian artists, leaving the city reeling from a “heartbreaking” loss.

Fire crews responded on Sunday to a blaze engulfing St Anne’s Anglican church, a national historic site in the city’s Little Portugal neighbourhood.

Michael Landy’s east London installation plays on creativity of phrases such as ‘apples and pears’ and ‘chew the fat’

Would you Adam and Eve it? Cockney rhyming slang, the lyrical patter that once punctuated daily life in London’s East End, is at risk of dying out as young people abandon its use.

That is the view of one artist who wants to reintroduce the dialect to a new generation of Londoners and international visitors by drawing attention to its creative nature.

This year’s biennial takes you up tenement staircases and into city centre car parks to see fine work from Delaine Le Bas, Cathy Wilkes and Lawrence Abu Hamdan

It’s a dreich – as they like to say in these parts – afternoon in June. Four strangers are crammed into an Opel in a city centre car park, listening to the radio. A broadcast of field recordings and vocal fragments is punctuated with bleeps and static. It is a very Glasgow International (GI) experience. In this biennial, art leads you up tenement staircases, across industrial estates, through community gardens and into car parks.

The broadcast is an homage to Jean Cocteau’s film Orpheus, and composed by students in Dresden and Glasgow under the tutelage of Susan Philipsz. This most private of public listening experiences recasts you as Orpheus himself, scrutinising transmissions for hidden meaning. But as Eurydice tells him: “You can’t spend your life in a talking car.” Other delights await.

At 75 years young, Donn Delson specialises in large-scale, often abstract aerial images shot from ‘doors off’ helicopters at heights up to 4,000 metres (12,000ft). Strapped into a doorless helicopter over two miles above ground, Delson has spent more than 300 hours watching the world from a bird’s eye view, travelling from Japan to The Netherlands, England to Israel, and across the US

• Do look down: how daredevil artist Donn Delson shoots from the sky
  

The Italian photographer on capturing a moment of peace on the Rimini riviera during a difficult time

As a portraitist and wedding photographer, Matteo Fagiolino likes to reflect his subjects’ personalities in his work. This photograph was taken after the first Covid lockdown ended, at the beach at Torre Pedrera, a town on the Rimini riviera in Italy.

“It was a summer afternoon after months of social distancing,” he says. “It had been so long since my whole family had spent the day together, it was a breath of fresh air for everyone.”

Source: www.cybertalk.org – Author: slandau By Antoinette Hodes, Office of the CTO, Check Point Software Technologies. The dark web has evolved into a clandestine marketplace where illicit activities flourish under the cloak of anonymity. Due to its restricted accessibility, the dark web exhibits a decentralized structure with minimal enforcement of security controls, making it a […]

La entrada How the Internet of Things (IoT) became a dark web target – and what to do about it – Source: www.cybertalk.org se publicó primero en CISO2CISO.COM & CYBER SECURITY GROUP.

The Vulnerability of Startups to Cyber Threats

The Imperative of Security by Design (SBD)

Key Practices of Security by Design

Rising Awareness and Adoption of Cyber Insurance

Conclusion: A Call to Action for Startups

If only Patch Tuesdays came around infrequently — like total solar eclipse rare — instead of just creeping up on us each month like The Man in the Moon. Although to be fair, it would be tough for Microsoft to eclipse the number of vulnerabilities fixed in this month’s patch batch — a record 147 flaws in Windows and related software.

Yes, you read that right. Microsoft today released updates to address 147 security holes in Windows, Office, Azure, .NET Framework, Visual Studio, SQL Server, DNS Server, Windows Defender, Bitlocker, and Windows Secure Boot.

“This is the largest release from Microsoft this year and the largest since at least 2017,” said Dustin Childs, from Trend Micro’s Zero Day Initiative (ZDI). “As far as I can tell, it’s the largest Patch Tuesday release from Microsoft of all time.”

Tempering the sheer volume of this month’s patches is the middling severity of many of the bugs. Only three of April’s vulnerabilities earned Microsoft’s most-dire “critical” rating, meaning they can be abused by malware or malcontents to take remote control over unpatched systems with no help from users.

Most of the flaws that Microsoft deems “more likely to be exploited” this month are marked as “important,” which usually involve bugs that require a bit more user interaction (social engineering) but which nevertheless can result in system security bypass, compromise, and the theft of critical assets.

Ben McCarthy, lead cyber security engineer at Immersive Labs called attention to CVE-2024-20670, an Outlook for Windows spoofing vulnerability described as being easy to exploit. It involves convincing a user to click on a malicious link in an email, which can then steal the user’s password hash and authenticate as the user in another Microsoft service.

Another interesting bug McCarthy pointed to is CVE-2024-29063, which involves hard-coded credentials in Azure’s search backend infrastructure that could be gleaned by taking advantage of Azure AI search.

“This along with many other AI attacks in recent news shows a potential new attack surface that we are just learning how to mitigate against,” McCarthy said. “Microsoft has updated their backend and notified any customers who have been affected by the credential leakage.”

CVE-2024-29988 is a weakness that allows attackers to bypass Windows SmartScreen, a technology Microsoft designed to provide additional protections for end users against phishing and malware attacks. Childs said one of ZDI’s researchers found this vulnerability being exploited in the wild, although Microsoft doesn’t currently list CVE-2024-29988 as being exploited.

“I would treat this as in the wild until Microsoft clarifies,” Childs said. “The bug itself acts much like CVE-2024-21412 – a [zero-day threat from February] that bypassed the Mark of the Web feature and allows malware to execute on a target system. Threat actors are sending exploits in a zipped file to evade EDR/NDR detection and then using this bug (and others) to bypass Mark of the Web.”

Update, 7:46 p.m. ET: A previous version of this story said there were no zero-day vulnerabilities fixed this month. BleepingComputer reports that Microsoft has since confirmed that there are actually two zero-days. One is the flaw Childs just mentioned (CVE-2024-21412), and the other is CVE-2024-26234, described as a “proxy driver spoofing” weakness.

Satnam Narang at Tenable notes that this month’s release includes fixes for two dozen flaws in Windows Secure Boot, the majority of which are considered “Exploitation Less Likely” according to Microsoft.

“However, the last time Microsoft patched a flaw in Windows Secure Boot in May 2023 had a notable impact as it was exploited in the wild and linked to the BlackLotus UEFI bootkit, which was sold on dark web forums for $5,000,” Narang said. “BlackLotus can bypass functionality called secure boot, which is designed to block malware from being able to load when booting up. While none of these Secure Boot vulnerabilities addressed this month were exploited in the wild, they serve as a reminder that flaws in Secure Boot persist, and we could see more malicious activity related to Secure Boot in the future.”

For links to individual security advisories indexed by severity, check out ZDI’s blog and the Patch Tuesday post from the SANS Internet Storm Center. Please consider backing up your data or your drive before updating, and drop a note in the comments here if you experience any issues applying these fixes.

Adobe today released nine patches tackling at least two dozen vulnerabilities in a range of software products, including Adobe After Effects, Photoshop, Commerce, InDesign, Experience Manager, Media Encoder, Bridge, Illustrator, and Adobe Animate.

KrebsOnSecurity needs to correct the record on a point mentioned at the end of March’s “Fat Patch Tuesday” post, which looked at new AI capabilities built into Adobe Acrobat that are turned on by default. Adobe has since clarified that its apps won’t use AI to auto-scan your documents, as the original language in its FAQ suggested.

“In practice, no document scanning or analysis occurs unless a user actively engages with the AI features by agreeing to the terms, opening a document, and selecting the AI Assistant or generative summary buttons for that specific document,” Adobe said earlier this month.