Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
Latest editorial
Statues of limitation
MICHAL BONCZA draws attention to the problematic position that statues of historical figures have in our public spaces
VEXED PRESENCE: (L to R) Stepan Bandera monument in Ternopil, western Ukraine; Colston, from the Hew Locke series Restoration, 2006; ‘Shame’ painted on the Karl Lueger statue in Vienna, 2020
[(L to R) Mykola Vasylechko/CC - Kasa Fue/CC - Hew Locke/Spike Island]
SIMON DUFF relishes the cross contamination of Damien Hirst’s greatest hits by street artists from France and the US
In view of the grooming gangs inquiry, SIMON PARSONS feels the relevance of this powerful examination of trauma suffered at Medomsley Youth Detention Centre
JOHN GREEN doubts the motivations of a US war photographer who never questions why, or for whom, she is producing images of imperialist conflict
MARIA DUARTE reviews Springsteen: Deliver Me From Nowhere, Hedda, The Mastermind, and Regretting You
TONY CONWAY welcomes a thrilling and concise history of Hope not Hate, that is also a manual full of tactical advice
PAUL DONOVAN welcomes an inspiring account of living with deafness that has important lessons for the treatment of deaf people in today’s UK
EVERY JANUARY, and this one’s no exception, witnesses a ritual of defacing or bringing down of statues of James Cook in Australia in well-planned interventions by those who protest against linking Australia Day to his arrival on the continent in January 1788 and the genocide of native people that followed.
Nearly 20 years earlier, in 2006, British artist Hew Locke mercilessly ridiculed slaver Edward Colston by adorning his statue in Bristol with glittering, ersatz-gold regalia and trinkets as part of his Restoration series.
Locke’s intention to expose Colston’s involvement in corruption and enrichment through slavery was abundantly clear but, at the time, the message remained largely within the realm of contemporary art.
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