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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Winter warmers
ANDY CROFT recommends three uplifting collections to ward off post-festive blues
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
JOHN GOHORRY'S Thirty-three Ostrich Cadenzas (Shoestring, £6) tells the story of the Japanese ostriches who escaped from a farm after the Daiichi nuclear reactor meltdown in Fukushima in 2011.
It begins as a sort of extravagant black comedy. The ostriches take over the deserted town of Okuma, where they drink in bars, mate in bookshops and establish the utopian “Autonomous Ostrich Republic.”
When the “moonsuits” arrive with their Geiger counters, the ostriches are sent to the Tokyo Agricultural University for tests and experiments.
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by Marjorie Lotfi