Daniel Trilling

An estimated 387 child refugees who have relatives in the UK are stranded alone in Calais. The UK government doesn't really want to bring them over, and has only started to after being sued by a group of charities. Three teenagers who arrived this week have been accused of looking like young men rather than children. The way the right-wing press has singled out these boys and published their faces in a hit parade is straight-up racist intimidation, playing on a stereotype of non-white foreigners being freakishly and threateningly overdeveloped.

‘Colonialism as a form of violent foreign rule was legitimised by a racist ideology of European superiority,’ says the board that greets you at the Deutsches Historisches Museum in Berlin. In a slightly too small room, hundreds of objects are laid out in clusters along a line representing the Greenwich Meridian, a ‘symbol of Eurocentrism’ and the anchor for a system that European powers used to navigate, conquer and impose borders on large parts of the world. The objects – carved elephant tusks, commercial images for coffee brands, whips – tell the story of the German Empire.

The Documenta festival, a contemporary art exhibition that usually takes place every five years in Kassel, Germany, is currently in Athens. Its presence there isn’t uncontroversial. The role of the art market in gentrification, the festival’s preference for established or dead artists, the spectacle of a wealthy German institution descending on a city that has been at the centre of economic and refugee crises in recent years – all this has drawn criticism. The curators have made some effort to engage with the political context, but not everything has gone to plan: a collaboration between the artist Roger Bernat and an LGBT refugee group foundered when the participants stole the exhibit in protest at what they saw as exploitation.