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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2022 comedy highlights with JAMES WALSH
(L to R) Charlie Vero-Martin and Nish Kumar
[(L to R) Elina Kansikas for Index on Censorship/CC charlieveromartin.com]
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
YER generic Friday night upstairs at the Goat & Gangrene in Crapton-on-Brine might still be booking eight white blokes complaining about their divorces, but in the urban centres the alternative scene is as exciting, experimental and inclusive as it’s ever been.
Special mention to brilliant nights LolWord, Weapons of Mass Hilarity, and Brown Sauce for bringing alternative comedy to new audiences, and to the Alternative Comedy Memorial Society for continuing to confuse all the right people.
Rosie Jones has had another brilliant year — the foul-mouthed, queer, disabled comedian, who brings an anarchic sense of joy and no-fucks-given attitude to every stage, podcast or TV show she graces. Special word for her particularly brilliant turns on Channel 4’s Last Leg as part of their exemplary Paralympics coverage.
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