GABRIELE NEHER draws attention to an astoundingly skilled Flemish painter who defied the notion that women cannot paint like men
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The best medicine
JAMES WALSH is therapeutically disrobed by a disarmingly attentive exploration of harsh truths and nonsense
BJORK-ESQUE ELFIN ALIEN: Julia Masli
[Andy Hollingworth]
The Bard pays homage to Hull’s finest promoter and venue, and awards Douze Points to Laibach
KEVIN DONNELLY outlines how the bourgeois institutions inhibit our ability to to view art in revolutionary ways, and suggests some tactics to overturn it
ANDY HEDGECOCK welcomes an accessible - and optimistic - take on our relationship to new technology
JOHN GREEN suggests that a new, biased, and highly readable re-hash of the story of the Cambridge Five be taken with a large pinch of salt
BRENT CUTLER welcomes a timely reminder of the long history of protests and the outdoor spaces in which they takes place
Julia Masli: ha ha ha ha ha ha ha
Soho Theatre
Can a clown save the world?
This probably wasn’t what Julia Masli, an Estonian performer trained by the notorious Parisian pedagogue Philippe Gaulier, had set out to achieve with her latest. Still, you never know. Masli always aims high, with seemingly limitless reserves of care, poise, and life-affirming naivete.
And after an hour of this staggering, beautiful, and heartfelt show, your correspondent is a convert to the idea of free Masli on the NHS. It’s called ha ha ha ha ha ha ha, but it was never supposed to be funny — or so its author claims. Instead, a Bjork-esque elfin alien, Masli in a typically ludicrous outfit, attempts to solve the audience’s problems, whether big or small, serious or inconsequential.
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