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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Eloquent dance in public spaces
ALAN CAIG WILSON witnesses an intense, hour-long masterpiece of control and deep focus
Matthew Hawkins performs Ready
[Nick Burge]
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
Ready
Dancebase, Edinburgh
MATTHEW HAWKINS’ Ready is an intense, hour-long masterpiece of control and deep focus, with moments reminiscent of the “interrupted” world of Samuel Beckett. A solo performance, we witness Hawkins’ flowing movement, seemingly freeform but composed of a subtly repetitive patterns and gestures.
The journey begins and ends in the vague space of the theatre room, and in between takes us out into the more epic environment of wind-blown trees and the lowering presence of Edinburgh Castle.
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