RITA DI SANTO draws attention to a new film that features Ken Loach and Jeremy Corbyn, and their personal experience of media misrepresentation
Latest editorial
Riotous colour and queer resistance from the Maghreb
LEO BOIX recommends a refreshing, non-Western and subversive look at what it means to be LGBTQI+ in Morocco
Soufiane Ababri Bedwork, 2023 (L to R) Men in the sun; La Reparation
[Rebecca Fanuele]
JULIA TOPPIN recommends Patti Smith’s eloquent memoir that wrestles with the beauty and sorrow of a lifetime
MARJORIE MAYO welcomes an account of family life after Oscar Wilde, a cathartic exercise, written by his grandson
KEN COCKBURN guides us through a survey of Chekov’s early short fiction, and the groundwork it laid for his later masterpieces
ANDY HEDGECOCK revels in a hugely enjoyable but deadly serious examination of the 1930s, that is an indictment of our own era
The bard distills our hellish times into fiery words
Soufiane Ababri: Their mouths were full of bumblebees but it was me who was pollinated
The Curve, Barbican
SINCE the so-called Arab Spring of 2011, Morocco has seen a growing social movement that has managed to mobilise large numbers of citizens around socio-economic, political and identity demands.
Within those groups, activists who identified as LGBTQI+ brought forward necessary discussions around sexual orientation and the rights of that specific community within contemporary Morocco and in the wider Arab world.
Moroccan artist Soufiane Ababri (b1985) has added his own voice to the struggle with a dazzling art commission currently at the Barbican’s Curve Gallery — his first solo exhibition at a major British institution.
Similar stories
MARJORIE MAYO welcomes an account of family life after Oscar Wilde, a cathartic exercise, written by his grandson
WILL STONE applauds a fine production that endures because its ever-relevant portrait of persecution
This is poetry in paint, spectacular but never spectacle for its own sake, writes JAN WOOLF
While the group known as the Colourists certainly reinvigorated Scottish painting, a new show is a welcome chance to reassess them, writes ANGUS REID