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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Trying to connect the dots between English, Irish and Bengali heritage
Chris Searle interviews pianist ZOE RAHMAN on the release of her album Colour of Sound
[Richard Kaby/flikr]
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
THE albums of pianist Zoe Rahman are some of the jewels of British jazz.
Born in Chichester, West Sussex, in 1971, her father a Bengali-heritage English literature lecturer, her mother an English/Irish GP, she began on piano at four years old.
“As a teenager I listened to whatever was in the charts (1980s pop). Then I went to a jazz gig — I don’t even remember who it was, but I remember loving it and wanting to learn how to play like that,” Rahman says.
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