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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Pertinent purgatory visions
by Michal Boncza
Beginning by Piero Pierini
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
Piero Pierini: Drawings
Abasto
London W2
Piero Pierini arrived in London 21 years ago, after Argentina spiralled into economic catastrophe under the corrupt rule of Fernando de la Rua.
He left secondary school, made infamous by the disappearance of 10 of its students in the 1976 “night of the pencils,” to study illustration at the University of La Plata.
Piero’s Italian nationality inherited from his anarchist bricklayer grandfather opened the EU gates.
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Star cartoonist MALC MCGOOKIN finds lessons for today in the punch, and the economy of line, of an extraordinary generation of illustrators
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BLANE SAVAGE recommends the display of nine previously unseen works by the Glaswegian artist, novelist and playwright