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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Honouring Ian Spink (1948-2023)
MATTHEW HAWKINS pays tribute to an inspirational dancer and choreographer
INSPIRATIONAL: Ian Spink during a rehearsal in the Schoolhill Studio, Aberdeen
[Colin Thom]
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
THE Ian Spink Group emerged in London circa 1980. The troupe’s flyers featured an image of an unpeopled thoroughfare curving away enigmatically, yet the show the image heralded was (as I then saw) rich with dancing, new music and handmade design.
Dead Flight fixes in my memory, with its installed transverse section of aircraft fuselage and its pencil-skirted crew enacting deadpan variations on post-armageddon duck-and-cover scenarios.
I caught The Blue Table, a bureaucratic flourish featuring cashmere twinsets, filing cabinets, handbags, dog-biscuits, and verbal patter.
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