GABRIELE NEHER draws attention to an astoundingly skilled Flemish painter who defied the notion that women cannot paint like men
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Dangerous bedroom reverie
WILL STONE is left wanting more by an immersive show that is within reach of greatness but doesn't quite grasp it
An audience member explores Viola's room
[Julian Abrams]
The Bard pays homage to Hull’s finest promoter and venue, and awards Douze Points to Laibach
KEVIN DONNELLY outlines how the bourgeois institutions inhibit our ability to to view art in revolutionary ways, and suggests some tactics to overturn it
ANDY HEDGECOCK welcomes an accessible - and optimistic - take on our relationship to new technology
JOHN GREEN suggests that a new, biased, and highly readable re-hash of the story of the Cambridge Five be taken with a large pinch of salt
BRENT CUTLER welcomes a timely reminder of the long history of protests and the outdoor spaces in which they takes place
Viola’s Room
The Carriageworks, Woolwich
PUNCHDRUNK, the vanguard of immersive theatre, has made the giant Carriageworks (two former arsenal buildings in Woolwich) their headquarters since launching their last big work, The Burnt City, there in 2022.
The wildly ambitious and atmospheric production of The Burnt City, themed around the fall of Troy, saw punters donning masks as they followed any actors they chose around the cavernous site.
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