Shakespeare's 'The Tempest', read as an allegory for colonialism, sets Prospero, the coloniser, against Caliban, the 'savage'. As the audience, we are expected to root for Prospero, the benevolent ruler. Yet, his civility does not extend to Caliban, who he prefers to keep imprisoned.

By what means can we recognise the persisting effects of the Manichean world? It is this question that underpins Frantz Fanon's critical writing and becomes the central theme for 'Psychocolonial Spaces', an exhibition conceived by Samia Henni, on view at Ar/Ge Kunst, Bolzano. This week we also review 'Brutalist Italy', which asks us to reconsider the

often polemic lens with which we view 'monstrous' Brutalist architecture. Could we look past the constructed monstrosity of Caliban and recognise his nobler nature? Finally, we turn to Venice's local art scene, which thrives despite the imminent tempest it must face in the future.

The turmoil, class conflict and literal climate disaster of 'The Tempest' give way to a paradise, ready to be civilised. In this 'brave new world', how will we decide if Caliban is the monster, or the rightful inhabitant of his land?