GEOFF BOTTOMS relishes a profoundly human portrait of a family as it evolves across 55 years in Sheffield
Chinese contemporary art
SIMON DUFF walks us through a fascinating display that is bold, optimistic and spiritual
View of the China pavilion
[Andrea Avezzù]
PAUL DONOVAN applauds an excellently crafted new musical that explores the life and death of Ruth Ellis
PAUL DONOVAN is tickled by the excruciating take-downs of one of the funniest, wittiest, political writers around.
RON JACOBS points out, via a transcription of Kissinger’s secret recordings, that Trump could never have existed without Nixon and Kissinger
ELLIS RAE is persuaded that the advantages of the ‘talking cure’ are superior to the treatment of mental illness with drugs
JOHN GREEN, MICHAL BONCZA and BELLA KATZ review The Good Boy, Broken English, and Don't Be Prey
Atlas: Harmony in Diversity
Chinese pavilion, Venice Bienale
VENICE, in all its majesty and cultural splendor, is a city that needs a Biennale more than ever. As the population continues to decline and many buildings lie empty a new focus and cultural re-awakening is vital.
The 60th Biennale, entitled Foreigners Everywhere, is designed to showcase art from around the world and runs from April to November in venues across the city. There are many highlights: painting in the Venice pavilion, the extraordinary film and sonic work about the Ukraine war in the Polish exhibition, the ambition of hyper-historical migrant themes in the Spanish Pavilion.
But the work that perhaps best demonstrates the tightrope balancing act of looking both to the past and future is highlighted at the China Pavilion.
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