STEVE JOHNSON speaks to DJ and singer/songwriter Mark Radcliffe
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Structural defect
MICHAL BONCZA takes issue with this year's uninspiring Serpentine Pavilion
Serpentine Escobedo
[Norbert Tukaj] 
JAMES WALSH takes advantage of an evening of comedy snippets to pick out which clowns will make it in Edinburgh
MAYER WAKEFIELD is swept up by the tale of the south London venue where music forged alliances across race, class and identity
MAYER WAKEFIELD applauds Rosamund Pike’s punchy and tragic portrayal of a multi-tasking mother and high court judge
FIONA O CONNOR recommends an unflinching depiction of child sexual abuse and its aftershocks, set in a working-class Liverpool family
New releases from Paul Weller, Wet Leg, and Dino Saluzzi
FRIDA ESCOBEDO’S Pavilion at the Serpentine in London this year has none of the luminous joie de vivre Francis Kere regaled us with a summer ago, the spatial intrigue Bjarke Ingels Group offered in 2016 or the mesmerising filigree of Sou Fujimoto’s Cloud construct in 2013.
Formally, Escobedo’s three-metre high “walls,” made up of stacks of standard dark-grey cement roof tiles, demarcate two rectangular atria. On the inside, the lattice patterning filters and fragments outside vistas and shifts in light as well as any air circulation.
Escobedo has used triangulated breeze blocks when remodelling the Siqueiros gallery in Cuernavaca in 2014 to similar effect but on a larger scale.
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