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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Brighton revolutionaries seize the day
JOE GILL is hooked by an urgent imagined rehearsal of what attempting to overthrow capitalism might look like
Fyodor Dostoevsky by Vasily Perov, 1872
[Background pic DreamThinkSpeak]
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
Unchain Me
DreamThinkSpeak
Brighton Festival
IF REVOLUTION in 2022 is anything like dreamthinkspeak’s Unchain Me, it will involve technical hiccups with tablets, waiting in the rain, and lots of flights of stairs.
In an immersive, intense plunge into a clandestine struggle against the powers that be in Brighton and Britain, groups of audience members are invited to join “the campaign” and to help overthrow the system.
Based loosely on Dostoevsky’s The Devils, the piece by Tristan Sharps (who is also Brighton Festival co-director this year) is an urgent imagined rehearsal of what attempting to overthrow capitalism might look like.
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