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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Sowing musical chaos in the nicest possible way
Damo Suzuki
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
Damo Suzuki
Lexington, London
A SINGLE, drawn-out note, reverberating around the room, heralds the start of something and, as the sound builds, the small stage at London’s Lexington starts to fill.
The note from the keyboard player is joined by the beat of a drum, then a bass adds to the groove, before two more musicians on keys and a lead guitarist complete the mix, but it’s only when a sylph-like Damo Suzuki walks on stage that the room really rises.
Standing there as the maelstrom of music envelops him and his swirling grey hair, he launches into the first and perhaps what may be the only track, calling, cawing and getting an avid audience rapt and ready to rock out.
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