‘I haven’t achieved much recently’: Albert Einstein’s private fears revealed in sister’s archive

A glimpse at the “private, hidden face” of Albert Einstein, including the celebrated scientist’s thoughts on everything from his fears that his best work was behind him to his equivocal feelings about his fame, has been revealed in a cache of letters he wrote to his beloved younger sister, Maja.

The collection, which includes a previously unknown photograph of Einstein as a five-year-old and the only surviving letter written by Einstein to his father, comes from the archive of Maja Winteler-Einstein and her husband Paul Winteler. A mix of letters, postcards and photographs, many of which have not previously been published, the documents range in date from 1897 to 1951.

The only surviving letter from Albert Einstein to his father (estimate: £2,500-3,500).



The only surviving letter from Albert Einstein to his father, estimated to sell for £2,500-3,500. Photograph: Yves Gerard/Christie’s Images Ltd 2018

“What’s remarkable about them stems from the fact that he had this incredibly close relationship with his sister. It’s quite clear when he’s writing to her, there’s no role-playing at all,” said Thomas Venning at Christie’s, which will auction the letters at the start of May. “He was very conscious of what was expected of him after he became famous, and you don’t get any of that in letters to his sister. He says some things that I’ve never seen him say anywhere else, and I’ve catalogued many hundreds of his letters.”

In 1924, nine years after he completed the general theory of relativity in 1915, Einstein would write to Maja that “scientifically I haven’t achieved much recently – the brain gradually goes off with age, although that’s not so unpleasant. It also means that you’re not so answerable for your later years.” Ten years later, he would write to her: “I am happy in my work, even if in this and in other matters I am starting to feel that the brilliance of younger years is past.”

Venning said he had not seen Einstein admit this anywhere else. “It’s not him playing a role, you can see that thought going through his head. Which is true – if Einstein had died in 1916, his fundamental legacy would have been intact. He carried on working for another 40 years without making any other great breakthroughs. So it’s just an extraordinary moment which we get because of how close their relationship was. He didn’t have to reassure her,” he said.

Tackling topics from his hobbies of sailing and playing the violin, to his difficult relationship with his first wife, the letters are “unpublished snapshots of Einstein, his private face”, according to Venning. In one from 1935, Einstein makes a rare acknowledgement of his achievements, writing to Maja: “In our main avenues of research in physics we are in a situation of groping in the dark, where each is completely sceptical about what another is pursuing with the highest hopes. One is in a constant state of tension until the end. At least I have the comfort that my main achievements have become part of the foundations of our science.”

“It sounds unusually big-headed for Einstein – he was an incredibly low-key, humble person, always careful not to say anything that sounded too proud. But I think he felt he could say something to Maja,” said Venning.

In 1923, in a letter that Christie’s has valued between £6,000 and £9,000, Einstein writes to Maja of his international fame, telling his sister and her husband that “I am becoming very much loved and even more envied; there’s nothing to be done about it.”

“He’s not rejoicing in it, he’s just sort of accepting it. Einstein was the first scientist to be a world celebrity. Before that it just didn’t really happen to scientists, so he was in this unique position,” said Venning.

Einstein to to Maja & Paul Winteler, 15 April 1923. ‘I am becoming very much loved and even more envied; there’s nothing to be done about it’. Estimate: £6,000-9,000



‘I am becoming very much loved and even more envied; there’s nothing to be done about it’ … Einstein to Maja and Paul Winteler, 15 April 1923. Photograph: Christie’s Images 2018 Ltd

The shadow cast by the rise of the Nazis in the 1930s, and the strength Einstein drew from his work, is starkly depicted in a letter written to his sister in September 1933. Earlier that year, Einstein had renounced his German citizenship in Antwerp, fearing for his life after the Nazis branded relativity “Jewish science” and publicly denounced him. He took up a role at Princeton University in New Jersey in October; his sister would follow him in 1939.

“What will happen if we come back from Princeton next year? Will we even be able to? What will life be like there? The only unshakeable things are the stars and mathematics,” he wrote.

“This is him facing up to the fact his whole life has changed. He’s going to a country he doesn’t really know. And so his whole world is falling to pieces, and he says this wonderful line,” said Venning.

Christie’s will put the letters on view to the public from 18 to 20 April, and auction the collection online from 2 to 9 May.

Can Paddy Considine’s Journeyman land a knockout blow for British boxing movies?

As UK cinemas prepare for the release of Paddy Considine’s new feature Journeyman, it’s a good time to think about the genre that Considine is working in: the boxing film. Asked to list some of the genre’s characteristics, the average movie-goer might say: a working-class setting, predictable rise and fall, lots of triumphalism, and something else … Americans. In spite of the sport’s Anglo-American genesis and its still immense popularity in the UK, few British films about the fight game – compared with the heft of Rocky or Raging Bull or Creed or Million Dollar Baby – have ever made a big dent, either at the box office or in the public consciousness.

Considine’s second film as director in fact turns away from the expectations of genre. His is a humane and realistic depiction of a fighter battling a brain injury. It eschews rags-to-riches tales, heroic comebacks or greedy mob fixers, and focuses simply on a wealthy professional athlete facing a heartbreaking situation. And beyond the film’s unexpected treatment of familiar sports terrain, there’s something else about Journeyman that’s nice: it’s homegrown.

There is a small sub-section of British film-makers who have shown a fascination with the sport, particularly vis-a-vis its connections to class, poverty and social realism. Among those ranks are Considine’s friend and collaborator Shane Meadows, whose debut 1997 feature about an amateur boxing gym, TwentyFour Seven, was nominated for best British film at the Baftas the following year, and actor-screenwriter Johnny Harris, who worked with Meadows on the TV series This Is England ’86 and its follow-ups.

Jawbone



Terse realism … Jawbone. Photograph: BBC Films

Speaking to the Guardian about his film Jawbone last year, Harris said: “I just wanted to make a really good British boxing movie.” Harris managed to do precisely that; it balances a terse realism with saleable performances from tough-guy stars such as Ray Winstone and Ian McShane. Jawbone was released to critical fanfare, but sadly little box office success.

Jezz Vernon, distributor of several hit direct-to-DVD films such as The Guvnors (2014), and executive producer of forthcoming boxing films of the same kind (Ten Count, Requiem for a Fighter), points out that Jawbone’s lack of takings did not bode well for the future of the Brit boxing flick. “There was a lot of pressure on Jawbone to prove that a well-acted, well-executed film could cut through. But it struggled to get screens and delivered pretty minimal commercial results. Exhibitors, platforms and retailers struggle to find a reason to break new ground or revisit a genre where previous efforts have failed or been few and far between. Margins and audiences are just too slender and fragmented, so there isn’t the financial cushion to allow experimentation without big names.”

Given Journeyman’s quality, considering the British boxing film’s legacy – or lack thereof – is baffling. In the 1930s, a handful of crime films delved into the world of prizefighting. Few, if any, live on in the public memory, but 1939 Ealing Studios production There Ain’t No Justice – adapted from a James Curtis novel – is a rare gem. Fresh-faced star Jimmy Hanley, whose career had been cultivated by Rank Studios since childhood, plays an up and coming fighter who doesn’t realise he’s caught up in a syndicate’s gambling racket. Boxing remained an incidental – if frequent – ingredient of the low-budget underworld films in the postwar period and up to the early 60s, featuring spivs, gangsters and fight-fixers. Ealing Studios producer Michael Balcon, who had produced There Ain’t No Justice, tried again with the The Square Ring (1955), but the reviews were not encouraging.

More recent films such as The Boxer (1997) and Guy Ritchie’s Snatch (2000) have seen commercial and critical success, with audiences primed to appreciate performances from bigger stars. Daniel Day-Lewis and Brad Pitt both committed deeply to their roles as born fighters in each film, different though they are in tone and background. In fact, Snatch focuses only peripherally on bare-knuckle boxing among Traveller communities, making it a boxing film in only the loosest sense. Still, Pitt’s dedication to depicting a bare-knuckle fighter saw him spending months with Irish Traveller families. Day-Lewis, for his part, took lessons from former champ Barry McGuigan until he was good enough to fight professionally. Veracity continues to be an important element of many boxing films, and Considine follows this through line – Journeyman features a host of real-life British boxing commentators, cornermen, and hangers-on.

The Boxer



Deeply committed … The Boxer. Photograph: Allstar/UNIVERSAL/Sportsphoto

On the face of it, the rising stardom of real homegrown heavyweight champs such as Tyson Fury and Anthony Joshua – the latter’s fight with Wladimir Klitschko smashed Sky Box Office records – doesn’t seem to have helped. It may be too soon to hope that the recent surge in British talent will encourage film-makers to find uniquely British stories set in the boxing world. Vernon points out: “There have been some successful larger-scale releases for US boxing films. These tend to feature either a larger than life character (Ali, Raging Bull, The Fighter) or a star-led vehicle (Rocky, Creed). We haven’t had a recent breakthrough British boxing film – maybe ever.”

While a handful of modest releases can hardly be called a comeback, it’s in keeping with the spirit of the boxing film to remain hopeful of some sort of redemption. In the meantime, boxing fans should be keeping a close eye on how Journeyman fares at the UK box office. That should give some indication of where this dogged little national sub-genre is going.

Journeyman is released on 30 March.

Out of print: NME’s demise shows pressure on consumer magazines

The closure of NME magazine after almost seven decades is the latest warning sign that the shift to digital media is threatening to kill the British love affair with print magazines.

NME.com continues but stopping the presses on the print edition after 66 years was the first decision made by the magazine’s new owners, the private equity firm Epiris, after its £130m deal to buy NME’s parent company, Time Inc, at the end of last month.

The closure of the weekly title is symbolic of the issues facing the wider consumer magazine market.

NME is just the latest once mighty magazine brand to cease regular publication in print, or to have embarked on a digital-only path in recent years, joining titles including Loaded, Maxim, FHM, The Face, i-D, Sugar, Bliss, Nuts and Arena.

UK and Ireland magazine sales
UK and Ireland magazine sales

While a number of these were shut when their print fans had already largely abandoned them, many were stunned at the news that that the magazine malaise had also spread to Glamour. The title, the 10th most popular paid-for magazine in the UK, halted its monthly print run last year.

The outlook for the UK magazine market is not good with the decline in sales and advertising figures making for grim reading.

Sales of the top 100 actively purchased print titles in the UK – those that readers buy or subscribe to – fell by 42% from 23.8m to 13.9m between 2010 and 2017. Since the start of the internet era in 2000, the decline is 55% from 30.8m, according to the Audit Bureau of Circulations.

Similarly, advertising in consumer titles will have more than halved from £512m in 2010 to £250m by the end of this year, according to Group M, a media buying agency.

“Are magazines dead? No,” says James Wildman, the UK chief executive of Cosmopolitan and Good Housekeeping owner Hearst. “We sell nearly 5m a month, that’s hardly dead, and we have 20 million unique UK users online a month, and more than double that on social media.

“But it is true to say that some of the 1 million millennial women every week that look at Cosmopolitan on Snapchat don’t know we also have a magazine of the same name.”

The reinvention of magazine brands online is all well and good, but the problem is that the £268m fall in print advertising is nowhere near being replaced by the growth of digital ad revenue, a key factor as magazine sales income also falls.

By the end of the year, digital ad spend on consumer magazine brands is projected to be well under half that shortfall, at £111m. “The ad market is a fairly brutal place right now,” says Wildman.

Google and Facebook account for 65% of the $6.5bn (£4.7bn) UK digital display ad market. They are also strangling attempts by magazine and newspaper publishers to build their digital ad revenues by taking about 90% of all new spend.

This is without the added competition for readers traditional publishers face online from digital media startups such as BuzzFeed.

Taylor Swift on the cover of British Vogue, January 2018



Taylor Swift on the cover of British Vogue, January 2018. Luxury titles are proving resilient. Photograph: British Vogue

“Magazines do still play an important part in client schedules – if circulation is holding up,” says Phil Hall, the chief commercial strategy officer at the media buying agency MediaCom.

“But the issue at the moment is there is a glut of titles that are too similar, too generic. Reaching audience at scale is key to many advertisers and if readers are falling away then that’s a major issue.”

Not all sectors of the magazine market are under such pressure. Luxury titles such as Vogue and Tatler, where the advertising is often a big reason readers buy them, are proving resilient.

Specialist magazines, catering for more niche audiences with interests ranging from shooting to model railways and ponies, are likely to always have a print fanbase.

Wildman says for magazines to survive they must build a brand beyond the core print publication.

“It is overly simplistic to say it is just digital versus print,” he says. “Magazine businesses are much more diverse. We ran 100 events related to our magazines last year – [a] Harper’s Bazaar [event] sold out in hours at £600 a head.

“Endorsement, accreditation and licensing are increasingly lucrative. DFS sell House Beautiful and Country Living [named after titles] range sofas. And the bestselling premium home gym at Argos is branded after our Men’s Health magazine.”

Nevertheless, mounting pressure on the traditional print magazine business, which still drives most revenues, is forcing consolidation as publishers seek scale to survive.

Time Inc in the US, which publishes People, Fortune and Sports Illustrated, has just been sold to rival Meredith for $1.8bn; the UK arm was picked up by Epiris.

Last year, Immediate Media, which publishes 60 titles including Radio Times and Top Gear, was sold to the German publisher Hubert Burda, owner of Your Home and HomeStyle, for £270m.

Despite the gloom, magazine publishers, like their newspaper counterparts, sense an opportunity as brand safety and measurement issues have prompted advertisers to closely scrutinise the once unquestionable value of investing in digital media such as YouTube and Facebook.

“With issues such as fake news, we are seeing the pendulum swing back because of two things: trust and context,” says Wildman.

“They are two things that went out of fashion in recent years as media agencies pivoted to buying audiences but weren’t worried about where ads were running. Now we are seeing readers and advertisers leaning back towards trusted brands.”

Beyoncé and Jay-Z announce On the Run II tour

Beyoncé and Jay-Z have confirmed rumours that they will tour together this summer, detailing dates in the UK, Europe and North America. The married couple previously mounted the On the Run tour together in 2014, to promote their respective albums Beyoncé and Magna Carta Holy Grail.

The couple’s latest album releases are 2016’s Lemonade and 2017’s 4:44. They are appearing together on DJ Khaled’s current single, Top Off.

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Next month, Beyoncé will headline California’s Coachella festival. She was initially due to headline in 2017, but withdrew on doctors’ orders after discovering that she was pregnant with twins. The couple have three children in all – Blue Ivy Carter, six, and the twins Rumi and Sir, born 13 June 2017 – and will celebrate their 10th wedding anniversary on 4 April.

The On the Run II tour starts in the UK at Cardiff’s Principality Stadium on 6 June, before moving to Glasgow’s Hampden Park (9 June), Manchester’s Etihad Stadium (13 June) and the London Stadium (15 June). They will then head to Europe for 11 dates, before a run of 21 dates across north America, concluding on 2 October at Vancouver’s BC Place. A pre-sale begins on 14 March before tickets go on general sale on 23 March.

Pedro Almodóvar’s Madrid: top 10 film locations to visit

The city of Madrid is no less essential to the films of Pedro Almodóvar than kinky sex, crimes of passion and gasp-inducing plot twists. Though born out in Castilla-La Mancha – Don Quixote country – Almodóvar made his punkish early movies here in the capital, where the death of General Franco gave rise to a buckwild creative scene.

Later, soberer melodramas like the recent Julieta (2016) have shown his adoptive hometown in a more nostalgic, melancholy light. Now one of the most widely admired auteurs in world cinema, the director has become a Spanish brand, says Sacha Azcona, while his Madrid stands as the centre of the “Almodóvarian universe”.

Azcona is the author of a new travel guide, El Madrid de Almodóvar, that maps out walking routes around locations used in the director’s films. “But I wanted to go a step further,” he says. “Once you see where a scene was shot, where do you go next?”

So, Azconaalso flags up surrounding landmarks, adds notes on local history, and recommends spots to eat and drink nearby. For now, the book is only available in Spanish, though he hopes an English translation will follow soon. In the meantime, we used his guide to visit 10 vital locations in Almodóvar’s Madrid.

Cuartel de Conde-Duque

Carmen Maura in Law of Desire.



Carmen Maura in Law of Desire. Photograph: Alamy

Carmen Maura – first among the muses known in Spain as “Almodóvar’s women” – plays a transexual actress who stops in the street on a hot summer night and demands of a sanitation worker: “Hose me down! Don’t be shy!” That scene from Law Of Desire (1987) was shot against the grand portico of Conde-Duque Cultural Centre, a hub of galleries and performance spaces in the former barracks of the Royal Guard. Azcona particularly recommends the autumn jazz festival (2018 dates to be confirmed).
Calle Conde Duque 11, condeduquemadrid.es

Plaza de Chueca

Plaza Chueca.



Plaza de Chueca features in Tie Me Up! Tie Me Down! Photograph: Getty Images

Tie Me Up! Tie Me Down! (1990) – Almodóvar’s first domestic megahit – captured the grubbiness of the Chueca district in that era. A young Antonio Banderas – playing the lovesick kidnapper of a former porn star – struts across the main square wearing a goofy false moustache, and robs pills from a local drug dealer. There is no such shady behaviour these days – the plaza has been thoroughly scrubbed up to form the core of Madrid’s hyper-stylish gay quarter. One dusty holdover from the past is Taberna de Ángel Sierra (C/Gravina 11), the 100-year-old bodega where Almodóvar regulars Marisa Paredes and Kiti Mánver chat over a beer in his mid-period movie The Flower of My Secret (1995). Azcona also notes that the nearby Panta Rhei (C/Hernán Cortés 7) is “by far Madrid’s best art and design bookstore”.

Restaurante Viridiana

Viridiana is Almodóvar’s favourite Madrid restaurant.



Viridiana is Almodóvar’s favourite Madrid restaurant.

Named after the 1961 film by one of Almodóvar’s idols, Luis Buñuel, this Madrid institution has been his favourite place to eat for more than 40 years. Owner Abraham García is as famous in this city as the director himself, and Almodóvar gave him a cameo in The Flower Of My Secret as a waiter caught up in a student protest. García’s cooking tends toward classic Castilian offal dishes, but Azcona always goes for the creamy rice with boar shoulder, and the orange blossom flan. Azcona also flags up the Galician-style home cooking of Taberna Maceiras (C/Huertas 66, tabernamaceira.es) a few blocks away, where, for a fraction of Garcia’s prices (shared platters of rice €7pp), you can load up on brothy rice, tetilla cheese croquettes and clams in sweet white albariño wine.
Calle de Juan de Mena 14, restauranteviridiana.com

Museo Chicote bar

Museo Chicote, Gran Via, Madrid



The Chicote bar featured in Broken Embraces. Photograph: Alamy

This 1930s-vintage art deco lounge is famous for its past patrons – Frank Sinatra, Sophia Loren and Madrid bar-hopper Ernest Hemingway (who inspired the papa doble, a house cocktail of rum and grapefruit). Almodóvar fans will also know the bar from Broken Embraces (2009), and the scene where Blanca Portillo gulps down a large gin before revealing dark secrets to blind film-maker Lluís Homar and their love child Tamar Novas.
Cocktails €10–€14, Calle Gran Vía 12, grupomercadodelareina.com

Tablao Villa Rosa

Villa Rosa, Madrid, Spain



Flamenco at Villa Rosa

Almodóvar shot a key scene from High Heels (1991) in this century-old wine bar: Panamanian pop idol Miguel Bosé plays a Madrid judge-turned-drag queen named Lethal, belting out the torch song Un año de amor. Today you’ll see flamenco on the stage, while sharing paella, garlic prawns and salted green peppers. It’s an elegant tablao with Andalucian flourishes all over the tiles, windows and woodwork.
Show and drink €35, show and set menu €65, Plaza de Santa Ana 15, tablaoflamencovillarosa.com

Circulo de Bellas Artes

The rooftop bar at Circulo de Bellas Artes.



The rooftop bar at Circulo de Bellas Artes. Photograph: Alamy

Almodóvar’s masterpiece All About My Mother (1999) was mostly filmed in Barcelona, but hinges on a tragedy shot around this emblematic Madrid building – the arts centre where Cecilia Roth’s teenage son is run over and killed after a performance of A Streetcar Named Desire. The interior has elegant rooms for plays, screenings and exhibitions but Azcona sends visitors straight up to the Azotea rooftop bar for sunset drinks and a “360 degree view of Madrid.”
Calle Alcalá 42, circulobellasartes.com

Hall of Realms

Penelope Cruz in Live Flesh



Penelope Cruz in Live Flesh. Photograph: Alamy

In the early scenes of Live Flesh (1997), poor Penelope Cruz goes into labour on the chaotic night of 1970’s Francoist crackdown, and gives birth on a bus right outside the Salón de Reinos, or Hall of Realms. An ostentatious 17th-century banquet venue built for King Philip IV, it has lately been annexed to the neighbouring Prado Museum. Norman Foster is now restoring the salon to glory as part of that world-renowned art gallery, due to reopen next year.
museodelprado.es

Teatro Lara

Teatro Lara Malasana District



Teatro Lara was a location in Labyrinth of Passion. Photograph: Alamy

Almodovar’s second movie, Labyrinth of Passion (1982), was a loopy love story about a nymphomaniac pop star (Cecilia Roth) and the gay son of a Middle Eastern emperor (Imanol Arias). Filming in the Malasaña district at the height of La Movida – the localised eruption of sex, drugs and art that followed decades of Franconian repression – he shot a scene inside this velvety 19th-century performance space. Described by Azcona as “a chocolate box”, the venue now hosts intimate indie gigs and fringe theatre shows.
Calle Corredera Baja of San Pablo 15, teatrolara.com

Our Lady of Almudena Cemetery

A sculpture angel in Our Lady of Almudena CemeteryMadrid city, Spain



Photograph: Alamy

Even the lightest Almodóvar comedies tend to sneak in a murder or suicide. The vitality of his films has something to do with mortality. No fewer than three of them – High Heels, Kika and Live Flesh – pay a visit to Cementerio de Nuestra Señora de la Almudena, the sprawling necropolis on the outskirts of Madrid, where more than five million corpses outnumber the living population of the city. It’s free to enter, and you can see why the director is so drawn to the gloomy beauty of the place.

Bar Cock

A scene from Broken Embraces, in Bar Cock



A scene from Broken Embraces shot in Bar Cock. Photograph: Alamy

Also seen in Broken Embraces, this splendidly named pub-club is where Tamar Novas works as a DJ in that movie. Just around the corner from its sister bar, Chicote, it’s a stately panelled drawing room that gets pretty rowdy after midnight, when even the sharp, classy veteran bartenders can be seen dancing to OMD. Azcona says he prefers to drink at Toni2 (C/del Almte 9)after hours, a wonderful nearby piano bar where trendies and oldies crowd around for pre-dawn singalongs.
Calle Reina 16, on Facebook

HOW TO DO IT
Where to stay

Hotel Indigo



Hotel Indigo

Hotel Indigo Madrid (doubles from €165) is very Almodóvar in its colour schemes, with super-bright decor, murals and photography. It’s on the Gran Via close to the bars mentioned, and to Almodóvar’s former stomping ground of Malasana and Chueca.

Axel Hotel



Axel Hotel, Madrid, Spain

The very funky Axel Hotel (doubles from €89) is a gay-friendly, hyper-colourful four-star with neon signage in the rooms and a rooftop pool and bar. It’s easy to imagine one of Almodóvar’s characters staying or drinking here.

Arthouse cinema and avenue of stars

Cine Dore (Filmoteca Espana) is a classic art nouveau arthouse cinema that often shows Almodovar movies in rep. It features in a few of his movies too – notably Talk To Her. Almodóvar actor Javier Cámera used to work here as an usher.

Madrid has its own Hollywood-style “avenue of stars”, along Calle de Martín de los Heros, between the Renoir arthouse cinema and the Ocho Y Media film bookshop and cafe. Almodóvar and most of his regular players have stars on the street.

Getting there

Many airlines fly from the UK. Among them are Ryanair (Birmingham, Newcastle, Stansted, Manchester, Glasgow); easyJet (Bristol, Luton, Gatwick, Liverpool, Edinburgh); and Norwegian (Gatwick).

Bono: bullying allegations at charity made me furious

The singer Bono has apologised after claims were made that workers at a charity he co-founded were subjected to a culture of bullying and abuse.

The U2 singer, 57, said he was left furious after the allegations surfaced in November last year. He admitted the One organisation failed to protect some employees at its Johannesburg office and said: “I need to take some responsibility for that.”

The One campaign, created in 2004 to fight extreme poverty and preventable diseases, launched an investigation after a group of former employees from its Johannesburg office tweeted allegations of management misconduct, claiming that some staff in Africa were “treated worse than dogs”.

The group told an internal inquiry into events between 2011 and 2015 that they were repeatedly ridiculed and belittled, and that a supervisor ordered them to do domestic work at her home at weekends. Another alleged she was demoted for refusing to become intimate with a foreign government official, after her manager made “sexist and suggestive comments” about her to him.

The allegations were revealed in a letter to members from Gayle Smith, who became One’s chief executive in March 2017. She said One had filed a serious incident report to the Charity Commission this month.

The inquiry found that a former official subjected junior employees to “verbal or email statements such as calling individuals ‘worthless’, ‘stupid’ and an ‘idiot’, at times doing so in front of third parties,” One said.

Smith said the campaign had not been able to corroborate the “appalling claims” that the female employee had been demoted for not becoming intimate with the foreign official, but added: “We do not discount any allegation – we investigate them and will continue to do so should others arise.”

Bono told the Mail on Sunday: “We are all deeply sorry. I hate bullying, can’t stand it. The poorest people in the poorest places being bullied by their circumstance is the reason we set up One. So to discover last November that there were serious and multiple allegations of bullying in our office in Johannesburg left me and the One board reeling and furious.”

Tacita Dean: the acclaimed British artist poised to make history

The artist and filmmaker is staging a trio of shows at London galleries this year. She talks about her struggle to continue using 16mm film, her father’s influence and living with arthritis

It is tempting to think of Tacita Dean as a witchy presence in the world, a diviner of hidden forces. Her chosen medium is an antique one: spooled film. Waiting is a big part of her method, and watching; there is also an alertness to chance and coincidence. She is a lifelong collector of four-leaf clovers; a sometime chaser of solar eclipses. One artistic quest saw her pursuing the three known sightings of the severed breasts of St Agatha among Italian relics. In another, she rose in a hot air balloon in the Alps before dawn to try to capture a plastic bag full of alchemists’ ether. She has long been drawn both to lighthouses and to shipwrecks. The prospectus for her three solo shows about to open in London – in an unprecedented collaboration between the National Gallery, the Royal Academy and the National Portrait Gallery – involves ancient and modern obsessions divided in the traditional way: still life, portrait and landscape. She will bring her own quiet magic to each.

I meet her one lunchtime in the midst of one of those three pressing deadlines, in a closed gallery at the National, surrounded by still lifes, some chosen from the collection, some shipped in, some her own. She sits beside a long trestle table of plans and tools and notes, trying not to feel the pressure of the 101 decisions she has still to make, while a gallery assistant paints a final section of wall and one of her regular team works on the sound for one of her films.

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