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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Equestrian sculptures of Manuel Rodriguez in Chile and Jose Gervasio Artigas in Uruguay
Innovatory tributes to leaders of popular rebellions
(L to R) Manuel Rodriguez; Jose Gervasio Artigas
[Kees van Tilburg/equestrianstatue.org]
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
WHILE equestrian statues are probably the most ubiquitous of all public monuments in Western towns and cities, their aesthetics are predictably formulaic.
Three or four standard formats are replicated ad nauseam and most are offensive examples of wars waged by the rapacious elites of any given country.
Roman emperor-philosopher Marcus Aurelius, whose 2,000-year-old equestrian statue is the oldest complete one in existence, is without armour or weapons as befits a supposed bringer of peace.
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