Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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Guernica, 85 years on
JENNY FARRELL examines the detailed symbolism within Picasso's iconic anti-war and anti-fascist painting
SIMON DUFF relishes the cross contamination of Damien Hirst’s greatest hits by street artists from France and the US
In view of the grooming gangs inquiry, SIMON PARSONS feels the relevance of this powerful examination of trauma suffered at Medomsley Youth Detention Centre
JOHN GREEN doubts the motivations of a US war photographer who never questions why, or for whom, she is producing images of imperialist conflict
MARIA DUARTE reviews Springsteen: Deliver Me From Nowhere, Hedda, The Mastermind, and Regretting You
TONY CONWAY welcomes a thrilling and concise history of Hope not Hate, that is also a manual full of tactical advice
PAUL DONOVAN welcomes an inspiring account of living with deafness that has important lessons for the treatment of deaf people in today’s UK
THERE are a handful of pictures that may be said to be almost universally known. They include Leonardo’s Mona Lisa, Edvard Munch’s The Scream and Picasso’s Guernica. The last was painted eight five years ago this month.
On April 26, 1937, the small Basque town of Guernica was annihilated by German bombers.
The Spanish painter Pablo Picasso, long based in France, heard of this act of terror on April 28 and began initial sketches in response to this atrocity on May 1. It became the painting Guernica.
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While politicians condemned fascist bombing of Spanish civilians in 1937, they ignored identical RAF tactics across the colonies. Today’s aerial warfare continues this pattern of applying different moral standards based on geography and race, write ROX MIDDLETON, LIAM SHAW and MIRIAM GAUNTLETT
Reading Picasso’s Guernica like a comic strip offers a new way to understand the story it is telling, posits HARRIET EARLE
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