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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Arms aloft in Aberdeen
CHRIS ALDRED explains the revolutionary ideas celebrated in an exhibition of women’s protest art in Aberdeen, and why they remain relevant
Women + Health Day poster, Reclaim the Night march, Aberdeen, 1975
[Poster: courtesy of the University of Aberdee; photo: Iain Stuart Baird]
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
THIS exhibition, showing until April 8 2023 in the Worm gallery, Aberdeen, offers a representation of two decades of local feminist struggles, 1970-1990, and the national and local alliances which supported, and were supported by, female activists.
More than 50 years on from the first women’s liberation group in Aberdeen, some of this local history is in danger of being lost as memories fade and the ephemeral objects which provide evidence of our activities are mislaid or thrown away. Does that matter?
As we worked together to create this exhibition, we rediscovered value in what we did, recreated some of the humour and creativity women brought to political struggle and remembered the sheer commitment and determination which enabled the women’s liberation movement to flourish.
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