To rescue Kahlo from the clutches of the corporate art market, we need to acknowledge the overt and covert political dimensions of the work, demands GAVIN O’TOOLE
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Sacred stars Khan and Guillem make sensational connection
Peter Lindley reviews Sacred Monsters at Sadler’s Wells, London EC1
If you can see past the relentless commodification you will be rewarded by enormously powerful work, suggests JENNY MITCHELL
CHRIS SEARLE revels in the one-off collaboration between an American polymath and a British Muslim, and detects the presence of their revolutionary forebear
GORDON PARSONS revels in an ebullient production of Shakespeare’s magical comedy
BRENT CUTLER welcomes a thoughtful analysis of the Erdogan regime, viewed through the evolving history of a neighbourhood in Istanbul
GORDON PARSONS regrets the price, but is dazzled by an outstandingly ambitious study of the way art restoration in particular, and culture in general was weaponised by the Nazis
5/5
In the lull before the storm of her impending retirement Sylvie Guillem reunited with Akram Khan for what could be the last time in Sacred Monsters.
First performed in 2006, the collaborative piece draws on the two very different dance traditions of kathak and ballet in exploring the advent of “the star” in mass culture, be it sporting or artistic, and the attendant media adulation.
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WILL STONE enjoys a set by an artist too eclectic to be pigeonholed
A chance find when clearing out our old office led us to renew a friendship across 5,000 miles and almost nine decades of history, explains ROGER McKENZIE
MATTHEW HAWKINS recommends three memorable performances from Scottish dance artists Barrowland Ballet, In the Fields Project, and Wendy Houston
In his second round-up, EWAN CAMERON picks excellent solo shows that deal with Scottishness, Englishness and race as highlights