When Bernardino Sani and agronomist Francesco Monari arrived at Argiano a decade ago, the historic Montalcino estate was making wines vastly different from today. Their approach was methodical: GPS soil mapping to identify optimal parcels, egg-shaped concrete fermentation tanks, shifting from barrique to large botti for gentler aging. The philosophy: respect the fruit, understand the land, don't over-extract. I met Sani at the estate.

Artist Shirin Neshat returns to overtly political territory with her most radical work in decades, The Fury. Shot in Brooklyn, the film captures the rage of women under tyranny and throughout history through mesmerising multi-channel video and photographs overlaid with Farsi calligraphy. Here, Neshat discusses fear and solidarity, the power of collective action, and why she chose to make work of such urgent brutality now.

Tim Marlow has spent his career animating institutions, from the Royal Academy of Arts to the Design Museum, where he's been director since 2019. In conversation, he speaks about the tension between elegance and energy, why chasing populism is dangerous, and how design offers a lens through which to examine everything from football to Amy Winehouse.

Sprouting greens reveal a fading family portrait. As the watercress grows, the image disappears. Spanish artist Almudena Romero works with living plants to create ephemeral organic photographs that question production, consumption, and ownership — art that returns to earth by design. I met with her at Paris Photo.

Artist Émeric Lhuisset spent seven years photographing Kurdish fighters as they transformed from battlefield heroes to European refugees. His exhibition L'autre rive, created during a BMW Residency, questions how perception shifts when someone crosses the Mediterranean. Elaborate staged photographs inspired by Franco-Prussian war paintings sit alongside simple videos of sea crossings and ephemeral cyanotype prints that fade like memory itself.

Chris Bangle believes design is trapped in machine age thinking, serving efficiency over humanity. Speaking at the Pratt Institute Design Symposium, the former BMW design director argues we're entering an era where our debt to the planet demands fundamental change. Design must abandon its worship of precision, speed, and machine perfection — learning instead from practices like Kintsugi that celebrate human imperfection and put people first.