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Received today — 14 February 2026

‘The bear feels comfortable and uncomfortable. It’s a bittersweet moment’: Iñigo Jerez Quintana’s best phone picture

14 February 2026 at 06:00

Capturing things that mix the strange with the beautiful helped the Spanish graphic designer recover from a blue period

Iñigo Jerez Quintana uses the French term objet trouvé to describe this abandoned bear. Quintana, a Spanish graphic designer, was walking from his studio to a work meeting in Poblenou, a district of Barcelona, when he spotted it.

“I take photos based on visual impulses; anything that catches my eye,” he says. “The colour match of the bear’s fur and wall paint anchors a childish stereotype in a place where it doesn’t really belong.”

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© Photograph: Iñigo Jerez

© Photograph: Iñigo Jerez

© Photograph: Iñigo Jerez

‘Regrets? Number one: smoking. Number two: taking it up the wrong hole’: Tracey Emin on reputation, radical honesty – and Reform

14 February 2026 at 01:00

She scandalised the art world in the 1990s with her unmade bed, partied hard in the 2000s – then a brush with death turned the artist’s life upside down. Now she’s as frank as ever

There is a long buildup before I get to see Tracey Emin – her two cats, Teacup and Pancake, preceding her like a pair of slinky sentries as she walks into the white-painted basement kitchen of her huge Georgian house in Margate. The lengthy overture is because – though I’ve been invited for noon – Emin is a magnificently late riser. Her average working day, her studio manager Harry tells me, runs from about 6pm to 3am. And so, while the artist is gradually sorting herself out, Harry takes me on a tour through her home town in the January drizzle, the sea a sulky grey blur beyond the sands.

At last, Harry is ringing the doorbell, and Emin’s lovely housekeeper, Sam, is sitting me down in the kitchen, then finally here she is, dressed in loose dark trousers and top, with those faithful cats. Emin is recognisably the same as she’s ever been – the artist who scandalised and entranced the nation in the 1990s with her tent embroidered with the names of everyone she’d ever slept with; with her unmade bed and its rumpled sheets and detritus. She still has that sardonic lip, those arched brows, those flashing eyes. But these days she is surprisingly calm, slow moving, her greying hair swept back into a loose bun. This is the Emin who has worked hard, survived a great deal and, somewhat unpredictably, ended up a national treasure.

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© Photograph: © Juergen Teller

© Photograph: © Juergen Teller

© Photograph: © Juergen Teller

From Wuthering Heights to Mario Tennis Fever: your complete entertainment guide to the week ahead

14 February 2026 at 01:00

Emerald Fennell’s film brings the raunch to Brontë’s romance, while Nintendo’s beloved plumber stars in a colourful, family-friendly sports game

Wuthering Heights
Out now
Out on the wily, windy moors, writer-director Emerald Fennell has constructed a new interpretation of the Emily Brontë classic. Margot Robbie is Cathy while Jacob Elordi takes on Heathcliff, and as you might expect from the film-maker behind Saltburn, the passionate pair are set to leave no height unwuthered.

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© Composite: LANDMARK MEDIA / Alamy Stock Photo

© Composite: LANDMARK MEDIA / Alamy Stock Photo

© Composite: LANDMARK MEDIA / Alamy Stock Photo

Received yesterday — 13 February 2026

The week around the world in 20 pictures

13 February 2026 at 14:08

Protests in Buenos Aires, Lindsey Vonn crashes at the Winter Olympics and Bad Bunny performs at Super Bowl LX – the past seven days as captured by the world’s leading photojournalists

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© Photograph: Patrick T Fallon/AFP/Getty Images

© Photograph: Patrick T Fallon/AFP/Getty Images

© Photograph: Patrick T Fallon/AFP/Getty Images

The Southbank Centre is striking, polarising and now protected | Letters

13 February 2026 at 12:46

Francis Bown says its grey concrete and childlike composition expressed the fatalism and despair of the time, while Helen Keats reflects on other brutalist builds

Fiona Twycross, the heritage minister, is to be congratulated for finally giving London’s Southbank Centre Grade II listing (Campaigners welcome ‘long overdue’ listing of brutalist Southbank Centre, 10 February).

I remember being shocked when I first saw it in the 1960s, but it has become a remarkable symbol of the zeitgeist.

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© Photograph: John East

© Photograph: John East

© Photograph: John East

Spooky shores, folkloric visions and Ireland’s mysterious landscapes reveal a secret – the week in art

13 February 2026 at 09:17

Georges Seurat takes an eerie trip to the seaside, Yinka Shonibare puts empire in its place and Sean Scully reveals his source – all in your weekly dispatch

Seurat and the Sea
If you thought French 19th-century paintings of the seaside were all happy impressionism, you will be disconcerted, then absorbed by Seurat’s eerie modernist shores. Read the review.
Courtauld Gallery, London, until 17 May

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© Photograph: Indianapolis Museum of Art at Newfields

© Photograph: Indianapolis Museum of Art at Newfields

© Photograph: Indianapolis Museum of Art at Newfields

A great artist on paper: why Lucian Freud’s magical drawings are the key to his major works

13 February 2026 at 06:00

The artist often swapped painting for etching as a way to rediscover his craft. Now a new exhibition shows these flashes of inspiration in all their intimate glory

At home one evening in 1951, Lucian Freud did three drawings of fellow artist Francis Bacon. The biographer William Feaver recounts the anecdote as Freud told it to him: Bacon had stood up, undone the buttons on his trousers, rolled up his sleeves and wiggled his hips a little, saying: “I think you ought to do this, because I think that’s rather important.”

By Freud’s own admission, the older painter was provocative in more ways than just this pose: “I got very impatient with the way I was working. It was limited and a limited vehicle for me,” Freud told Feaver. He felt his drawing stopped him from freeing himself, he said, “and I think my admiration for Francis came into this. I realised that by working in the way I did I couldn’t really evolve. The change wasn’t perhaps more than one of focus, but it did make it possible for me to approach the whole thing in another way.”

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© Photograph: © The Lucian Freud Archive. All Rights Reserved 2025 / Bridgeman Images

© Photograph: © The Lucian Freud Archive. All Rights Reserved 2025 / Bridgeman Images

© Photograph: © The Lucian Freud Archive. All Rights Reserved 2025 / Bridgeman Images

Euan Uglow review – No wonder Cherie Blair didn’t model for long, these pictures are exhausting just to look at

13 February 2026 at 05:42

MK Gallery, Milton Keynes
His work was so painstaking and slow to produce that the models – including a certain trainee barrister – often didn’t make it to the end of a portrait. It makes for paintings that seem drained of life

Euan Uglow, they say, is an artist’s artist, and therein lies the problem. If you were approaching his painstaking canvases out of curiosity – how to construct the figure, capture precise perspective, proportions – I can see how their visible workings (complex little dashes and crosses and plumb lines and geometric grids) would prove revelatory. But lots of us come to art to be inspired, transported, to feel. And for all their technical prowess, Uglow’s 70-odd regimented paintings at MK Gallery leave me cold.

First, some context, which we get immediately upon entering – in a slightly maddening move, the five-room retrospective of the artist opens with a room of seven paintings, of which only two are by him. After studying at the Camberwell School of Arts and Crafts in London from 1948 to 1950, he moved to the Slade. He was influenced by Paul Cézanne and Alberto Giacometti, as well as three tutors, all of whom are represented here.

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© Photograph: © The estate of Euan Uglow. All rights reserved 2025, Bridgeman Images

© Photograph: © The estate of Euan Uglow. All rights reserved 2025, Bridgeman Images

© Photograph: © The estate of Euan Uglow. All rights reserved 2025, Bridgeman Images

Received before yesterday

To revive manufacturing we must first change attitudes towards labour | Letter

12 February 2026 at 12:07

Government action is needed before it is too late, writes Jill Fitzgerald-O’Connor

Re Larry Elliott’s article (How can Britain regain its manufacturing power?, 5 February), the basis for the revival of our manufacturing industry requires first a shift in attitude that brainwork is superior to manual labour.

Changes to the curriculum are needed so that technically oriented students can pursue courses that are a first option rather than second best. Part of my training as a designer-pattern cutter involved a placement in a factory, an experience now rarely available to fashion students. In the 1980s, the government set up the Enterprise Allowance Scheme to encourage innovation, but there was no follow-on support to encourage production; successful entrepreneurs had to apply for personal loans from banks, limited to the value of their houses.

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© Photograph: Alicia Canter/The Guardian

© Photograph: Alicia Canter/The Guardian

© Photograph: Alicia Canter/The Guardian

‘Not for ogling’: forget Titian, Botticelli and the male fantasists – only women can paint great female nudes

12 February 2026 at 09:27

From Yoko Ono to Frida Kahlo, from Louise Bourgeois to Artemisia Gentileschi, women have long been capturing the unvarnished truth about their own bodies – and that’s why my novel Female, Nude weaves them into the plot

‘If you want to paint, put your clothes back on!” That was how Carolee Schneemann summarised the critical response to her 1975 performance piece Interior Scroll, which she had performed nude standing on a gallery table. After making a series of life model poses, she removed a scroll from her vagina and began to read her manifesto. In doing so, Schneemann asked an important question: “What does it mean for a female artist to be both the artist and the life model?” Or as she put it: “Both image and image-maker?”

The female nude, as depicted and objectified by the male artist, has dominated western art for centuries. Despite decades of feminist efforts, that interaction between the great male genius and his female model – sometimes muse – remains a subject of perennial fascination. To enter a gallery, or to open a university textbook, is to be confronted with a parade of idealised naked females by male artists from Rubens, Titian and Botticelli to Picasso and De Kooning.

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© Photograph: Alamy

© Photograph: Alamy

© Photograph: Alamy

Temporary solution for Kingston's LaSalle Causeway costing taxpayers $10.5 million, documents show

12 February 2026 at 06:25
The cost of maintaining, installing and removing the temporary modular bridge at the site of the LaSalle Causeway is costing Canadian taxpayers $10.5 million, the Whig-Standard has learned. Read More

The god of small things: Seurat and the sea – review

11 February 2026 at 19:01

Courtauld Gallery, London
This quietly tremendous exhibition gathers more than half of the pointillist painter’s works, all depicting the Channel coast and sea, full of blizzards of light and a quivering sense of import

Georges Seurat died young. His two most famous paintings, both extremely large and innovative in their composition and technique, were completed while he was still in his mid-20s. As it was, Seurat painted approximately 45 paintings before his death, probably from diphtheria, in March 1891 when he was 31. More than half these works depict the Channel coast and sea and were completed on his summer trips between 1885 and 1890. Seurat and the Sea at the Courtauld is the first exhibition to be devoted entirely to these images. Twenty-three paintings and smaller oil studies, and three drawings hang in two rooms. It is a quietly tremendous exhibition.

Even if one takes on board the artist’s claims to science, objectivity and his adherence to theories about colour and perception which distance him from impressionism, Seurat’s paintings are peculiar and strange. Sometimes his line is very odd and stiff, yet his drawings themselves – tonal studies worked in conté crayon on textured, laid paper, are among the most marvellous I can think of. It is clear Seurat knew what he was doing; who knows what he might have gone on to achieve?

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© Photograph: National Gallery of Art, Washington DC

© Photograph: National Gallery of Art, Washington DC

© Photograph: National Gallery of Art, Washington DC

Why TikTok’s Addictive Design Is Now a Regulatory Problem

9 February 2026 at 03:01

TikTok Addictive Design Under EU Regulatory Scrutiny

The European Commission’s preliminary finding that TikTok addictive design breaches the Digital Services Act (DSA) is a huge change in how regulators view social media responsibility, especially when it comes to children and vulnerable users. This is not a symbolic warning. It is a direct challenge to the design choices that have powered TikTok’s explosive growth. According to the Commission, TikTok’s core features—including infinite scroll, autoplay, push notifications, and a highly personalised recommender system—are engineered to keep users engaged for as long as possible. The problem, regulators argue, is that TikTok failed to seriously assess or mitigate the harm these features can cause, particularly to minors. Cyble Annual Threat Landscape Report, Annual Threat Landscape Report, Cyble Annual Threat Landscape Report 2025, Threat Landscape Report 2025, Cyble, Ransomware, Hacktivism, AI attacks, Vulnerabilities, APT, ICS Vulnerabilities

TikTok Addictive Design Fuels Compulsive Use

The Commission’s risk assessment found that TikTok did not adequately evaluate how its design impacts users’ physical and mental wellbeing. Features that constantly “reward” users with new content can push people into what experts describe as an “autopilot mode,” where scrolling becomes automatic rather than intentional. Scientific research reviewed by the Commission links such design patterns to compulsive behaviour and reduced self-control. Despite this, TikTok reportedly overlooked key indicators of harmful use, including how much time minors spend on the app at night, how frequently users reopen the app, and other behavioural warning signs. This omission matters. Under the Digital Services Act, platforms are expected not only to identify risks but to act on them. In this case, the Commission believes TikTok failed on both counts.

Risk Mitigation Measures Fall Short

The investigation also found that TikTok’s current safeguards do little to counter the risks created by its addictive design. Screen time management tools are reportedly easy to dismiss and introduce minimal friction, making them ineffective in helping users actually reduce usage. Parental controls fare no better. While they exist, the Commission notes that they require extra time, effort, and technical understanding from parents, barriers that significantly limit their real-world impact. At this stage, regulators believe that cosmetic fixes are not enough. The Commission has stated that TikTok may need to change the basic design of its service, including disabling infinite scroll over time, enforcing meaningful screen-time breaks (especially at night), and reworking its recommender system. These findings are preliminary, but the message is clear: responsibility cannot be optional when a platform’s design actively shapes user behaviour.

How Governments View Social Media Harm

The scrutiny of TikTok addictive design comes amid a broader global reassessment of social media’s impact on young users. Countries including Australia, Spain, and the United Kingdom have taken steps in recent months to restrict or ban social media use by minors, citing growing concerns over screen time and mental health. Europe’s stance reflects a wider regulatory trend: moving away from asking platforms to self-police, and toward enforcing accountability through law. This is consistent with other digital policy actions across the region, including investigations into platform transparency, data access for researchers, and online safety failures.

What Happens Next for TikTok

TikTok now has the right to review the Commission’s findings and respond in writing. The European Board for Digital Services will also be consulted. If the Commission ultimately confirms its position, it could issue a formal non-compliance decision, opening the door to fines of up to 6% of TikTok’s global annual turnover. While the outcome is not yet final, the direction is unmistakable. As Henna Virkkunen, Executive Vice-President for Tech Sovereignty, Security and Democracy, stated:
“Social media addiction can have detrimental effects on the developing minds of children and teens. The Digital Services Act makes platforms responsible for the effects they can have on their users. In Europe, we enforce our legislation to protect our children and our citizens online.”
The TikTok case is no longer just about one app. It is about whether growth-driven platform design can continue unchecked, or whether accountability is finally catching up.

Canada Marks Data Privacy Week 2026 as Commissioner Pushes for Privacy by Design

27 January 2026 at 03:18

Data Privacy Week 2026

As Data Privacy Week 2026 gets underway from January 26 to 30, Canada’s Privacy Commissioner Philippe Dufresne has renewed calls for stronger data protection practices, modern privacy laws, and a privacy-first approach to emerging technologies such as artificial intelligence. In a statement marking Data Privacy Week 2026, Dufresne said data has become one of the most valuable resources of the 21st century, making responsible data management essential for both individuals and organizations. “Data is one of the most important resources of the 21st century and managing it well is essential for ensuring that individuals and organizations can confidently reap the benefits of a digital society,” he said. The Office of the Privacy Commissioner (OPC) has chosen privacy by design as its theme this year, highlighting the need for organizations to embed privacy into their programs, products, and services from the outset. According to Dufresne, this proactive approach can help organizations innovate responsibly, reduce risks, build for the future, and earn public trust.

Data Privacy Week 2026: Privacy by Design Takes Centre Stage

Speaking on the growing integration of technology into everyday life, Dufresne said Data Privacy Week 2026 is a timely opportunity to underline the importance of data protection. With personal data being collected, used, and shared at unprecedented levels, privacy is no longer a secondary concern. “Prioritizing privacy by design is my Office’s theme for Data Privacy Week this year, which highlights the benefits to organizations of taking a proactive approach to protect the personal information that is in their care,” he said. The OPC is also offering guidance for individuals on how to safeguard their personal information in a digital world, while providing organizations with resources to support privacy-first programs, policies, and services. These include principles to encourage responsible innovation, especially in the use of generative AI technologies.

Real-World Cases Show Why Privacy Matters

In parallel with Data Privacy Week 2026, Dufresne used a recent appearance before Parliament to point to concrete cases that show how privacy failures can cause serious and lasting harm. He referenced investigations into the non-consensual sharing of intimate images involving Aylo, the operator of Pornhub, and the 23andMe data breach, which exposed highly sensitive personal information of 7 million customers, including more than 300,000 Canadians. His office’s joint investigation into TikTok also highlighted the need to protect children’s privacy online. The probe not only resulted in a report but also led TikTok to improve its privacy practices in the interests of its users, particularly minors. Dufresne also confirmed an expanded investigation into X and its Grok chatbot, focusing on the emerging use of AI to create deepfakes, which he said presents significant risks to Canadians. “These are some of many examples that demonstrate the importance of privacy for current and future generations,” he told lawmakers, adding that prioritizing privacy is also a strategic and competitive asset for organizations.

Modernizing Canada’s Privacy Laws

A central theme of Data Privacy Week 2026 in Canada is the need to modernize privacy legislation. Dufresne said existing laws must be updated to protect Canadians in a data-driven world while giving businesses clear and practical rules. He voiced support for proposed changes under Bill C-15, the Budget 2025 Implementation Act, which would amend the Personal Information Protection and Electronic Documents Act (PIPEDA) to introduce a right to data mobility. This would allow individuals to request that their personal information be transferred to another organization, subject to regulations and safeguards. “A right to data mobility would give Canadians greater control of their personal information by allowing them to make decisions about who they want their information shared with,” he said, adding that it would also make it easier for people to switch service providers and support innovation and competition. Under the proposed amendments, organizations would be required to disclose personal information to designated organizations upon request, provided both are subject to a data-mobility framework. The federal government would also gain authority to set regulations covering safeguards, interoperability standards, and exceptions. Given the scope of these changes, Dufresne said it will be important for his office to be consulted as the regulations are developed.

A Call to Act During Data Privacy Week 2026

Looking ahead, Dufresne framed Data Privacy Week 2026 as both a moment of reflection and a call to action. “Let us work together to create a safer digital future for all, where privacy is everyone’s priority,” he said. He invited Canadians to take part in Data Privacy Week 2026 by joining the conversation online, engaging with content from the OPC’s LinkedIn account, and using the hashtag #DPW2026 to connect with others committed to advancing privacy in Canada and globally. As digital technologies continue to reshape daily life, the message from Canada’s Privacy Commissioner is clear: privacy is not just a legal requirement, but a foundation for trust, innovation, and long-term economic growth.
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