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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Living in this brief, violent world
JESSICA WIDNER explores how the twin themes of violence and love run through the novels of South Korean Nobel prize-winner Han Kang
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
LAST year, South Korea made headlines around the world for two reasons. The first was writer Han Kang’s celebrated Nobel prize for literature win in October; the second was far less positive. Late in the evening of December 3 2024, the country’s President Yoon Suk Yeol unexpectedly declared martial law – the first time it had happened since the country became a democracy in 1987.
Protesters and lawmakers rushed on to the streets to resist Yoon’s decree, and martial law was annulled early the next morning at 1am.
The ensuing chaos ended on January 26, with Yoon’s arrest. Protests and counter protests continue and the constitutional court of South Korea is yet to deliver its ruling on Yoon’s impeachment, leaving the country’s political horizons uncertain.
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