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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Follow the Movement: August 17, 2023
A tap-dancer negotiates non-entity to great effect, while Israelis indulge their own brand of marshalled torture
Thaddeus McWhinnie Phillips in Lost Soles; L-E-V Dance Company in Chapter 3: The Brutal Journey of the Heart
[Erin Rollman/Stefan Dotter]
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
ON the track to recognition, starting blocks can be mounted by starlets alongside peers for whom the way ahead will imperceptibly fork. Tap-dancing artistes who totally know their stuff may get shuffled to Wyoming (or elsewhere) for endless earnest address to non-entities.
In Lost Soles (★★★★★) at Assembly Roxy, dancing actor Thaddeus McWhinnie Phillips seemingly fritters away quite a bit of stage time setting up unprepossessing retro objects and props, nattering amiably the while.
His moderate pace is deceptive. Key moments arise. Abrupt set-pieces convulse with layered information and skill. Such flurries open portals to a world we could fruitfully acknowledge — the world of the unsung.
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Given the tawdry push and pull around disability benefits, MATTHEW HAWKINS relishes Dan Daw’s defiant celebration of body and sexuality