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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African and Cuban music head in new directions
Reviews of Fatoumata Diawara, London Ko and Eliades Ochoas, Guajiro
UNCLASSIFIABLE: Fatoumata Diawara
[Shelby Duncan]
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
HAILED as one of the standard-bearers of new African music, Malian singer, guitarist and actor Fatoumata Diawara’s radical new set London K (Wagram Records) is co-produced by Diawara, Daniel Florestano and Blur/Gorillaz frontman and global music champion Damon Albarn, who also performs on six of the 14 tracks here.
Fatoumata says Albarn is “her protector.” She appeared on Albarn’s cross-cultural Africa Express collective in London’s King Cross in 2012 after Albarn and other musicians were angered by the 2005 London Live 8 charity concert’s inclusion of just one African artist in its line-up.
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