Immersive exhibition will form the centrepiece of the celebration of the artist’s 90th birthday next year

Tate Modern’s Turbine Hall will be transformed into an immersive opera house as it plays host to an exhibition featuring the sets David Hockney designed for productions of works by Mozart, Wagner and Stravinsky dating back to the 1970s.

The art form might be considered passé by Timothée Chalamet, but Tate is to use the sets as the centrepiece of its celebration of Hockney’s 90th birthday in 2027.

Immersive exhibition will form the centrepiece of the celebration of the artist’s 90th birthday next year

Tate Modern’s Turbine Hall will be transformed into an immersive opera house as it plays host to an exhibition featuring the sets David Hockney designed for productions of works by Mozart, Wagner and Stravinsky dating back to the 1970s.

The art form might be considered passé by Timothée Chalamet, but Tate is to use the sets as the centrepiece of its celebration of Hockney’s 90th birthday in 2027.

Immersive exhibition will form the centrepiece of the celebration of the artist’s 90th birthday next year

Tate Modern’s Turbine Hall will be transformed into an immersive opera house as it plays host to an exhibition featuring the sets David Hockney designed for productions of works by Mozart, Wagner and Stravinsky dating back to the 1970s.

The art form might be considered passé by Timothée Chalamet, but Tate is to use the sets as the centrepiece of its celebration of Hockney’s 90th birthday in 2027.

By imposing costs on the global economy, the Iranian government is ensuring that further attacks are not contemplated

The US and Israeli decision to attack Iran has sent economic shockwaves around the world. About 20% of global oil supplies have been effectively blocked from transiting the strait of Hormuz since Iran began attacking ships, resulting in a huge jump in oil prices. Militarily, while the United States has the firepower to significantly reduce Iran’s capacity to use the strait as leverage, it is unlikely to be able to eliminate the threat entirely.

Reopening the strait, therefore, is not only a question of military capabilities but of diplomacy, and to negotiate it is necessary to understand what each party to the conflict is trying to achieve.

By imposing costs on the global economy, the Iranian government is ensuring that further attacks are not contemplated

The US and Israeli decision to attack Iran has sent economic shockwaves around the world. About 20% of global oil supplies have been effectively blocked from transiting the strait of Hormuz since Iran began attacking ships, resulting in a huge jump in oil prices. Militarily, while the United States has the firepower to significantly reduce Iran’s capacity to use the strait as leverage, it is unlikely to be able to eliminate the threat entirely.

Reopening the strait, therefore, is not only a question of military capabilities but of diplomacy, and to negotiate it is necessary to understand what each party to the conflict is trying to achieve.

By imposing costs on the global economy, the Iranian government is ensuring that further attacks are not contemplated

The US and Israeli decision to attack Iran has sent economic shockwaves around the world. About 20% of global oil supplies have been effectively blocked from transiting the strait of Hormuz since Iran began attacking ships, resulting in a huge jump in oil prices. Militarily, while the United States has the firepower to significantly reduce Iran’s capacity to use the strait as leverage, it is unlikely to be able to eliminate the threat entirely.

Reopening the strait, therefore, is not only a question of military capabilities but of diplomacy, and to negotiate it is necessary to understand what each party to the conflict is trying to achieve.

Whitworth, Manchester
Hokusai’s breathtaking woodblock print may be ubiquitous today but, as this startling show reminds us, it’s also an apocalyptic vision of a world about to change

The printed images made in Japan between the 17th and 20th centuries, known collectively as “pictures of the floating world”, could be bought from a local bookshop for about the price of a bowl of noodles. Collected casually, like posters or magazines, these mass-produced media started out as sexy, charming and dazzling snapshots of Tokyo high-life for the vicarious enjoyment of those who could not afford it. Manufactured by workshops of artists and artisans, they made professional works of art available to ordinary people for the first time. They’re breathtakingly beautiful, and they changed the history of art.

The first and most enduringly popular subjects for these collectible prints were famous actors from the kabuki theatreand beautiful women, typically courtesans from the brothel district of Yoshiwara. By introducing us to the denizens of the floating world, the first half of this dazzling exhibition sheds light on the dreams and desires that drive popular culture. Kunichika’s portrait of an actor in the role of a “heavenly being” is as heart-throbbing and as gender-bending as Rudolph Valentino in a bolero vest. A “fashionable beauty” caught by Eizan in the process of applying her lipstick, a delicately turned ankle visible through the gap in her marvellously rendered gown, is erotic in a way that is unavoidably (and by design) voyeuristic. You could imagine stumbling upon this half-dressed model, glimpsed through an open door, in the pages of Vogue Italia.

Whitworth, Manchester
Hokusai’s breathtaking woodblock print may be ubiquitous today but, as this startling show reminds us, it’s also an apocalyptic vision of a world about to change

The printed images made in Japan between the 17th and 20th centuries, known collectively as “pictures of the floating world”, could be bought from a local bookshop for about the price of a bowl of noodles. Collected casually, like posters or magazines, these mass-produced media started out as sexy, charming and dazzling snapshots of Tokyo high-life for the vicarious enjoyment of those who could not afford it. Manufactured by workshops of artists and artisans, they made professional works of art available to ordinary people for the first time. They’re breathtakingly beautiful, and they changed the history of art.

The first and most enduringly popular subjects for these collectible prints were famous actors from the kabuki theatreand beautiful women, typically courtesans from the brothel district of Yoshiwara. By introducing us to the denizens of the floating world, the first half of this dazzling exhibition sheds light on the dreams and desires that drive popular culture. Kunichika’s portrait of an actor in the role of a “heavenly being” is as heart-throbbing and as gender-bending as Rudolph Valentino in a bolero vest. A “fashionable beauty” caught by Eizan in the process of applying her lipstick, a delicately turned ankle visible through the gap in her marvellously rendered gown, is erotic in a way that is unavoidably (and by design) voyeuristic. You could imagine stumbling upon this half-dressed model, glimpsed through an open door, in the pages of Vogue Italia.

Whitworth, Manchester
Hokusai’s breathtaking woodblock print may be ubiquitous today but, as this startling show reminds us, it’s also an apocalyptic vision of a world about to change

The printed images made in Japan between the 17th and 20th centuries, known collectively as “pictures of the floating world”, could be bought from a local bookshop for about the price of a bowl of noodles. Collected casually, like posters or magazines, these mass-produced media started out as sexy, charming and dazzling snapshots of Tokyo high-life for the vicarious enjoyment of those who could not afford it. Manufactured by workshops of artists and artisans, they made professional works of art available to ordinary people for the first time. They’re breathtakingly beautiful, and they changed the history of art.

The first and most enduringly popular subjects for these collectible prints were famous actors from the kabuki theatreand beautiful women, typically courtesans from the brothel district of Yoshiwara. By introducing us to the denizens of the floating world, the first half of this dazzling exhibition sheds light on the dreams and desires that drive popular culture. Kunichika’s portrait of an actor in the role of a “heavenly being” is as heart-throbbing and as gender-bending as Rudolph Valentino in a bolero vest. A “fashionable beauty” caught by Eizan in the process of applying her lipstick, a delicately turned ankle visible through the gap in her marvellously rendered gown, is erotic in a way that is unavoidably (and by design) voyeuristic. You could imagine stumbling upon this half-dressed model, glimpsed through an open door, in the pages of Vogue Italia.