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
Latest editorial
A memory lane like no other
Neil Hannon songwritting has withstood admirably the often cruel passage of time, writes JAMES WALSH
Neil Hannon at the Barbican aided by an orchestra and some very fine musicians
[Carmen Fishwick]
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 Divine Comedy
Barbican, London
“MAYBE it’s tonight. Maybe tomorrow night, next week, next month, next year / We’ve only time to fear”
Similar stories
New releases from Kneecap, Sam Blasucci, and Juni Habel
SUSAN DARLINGTON swoons in the presence of a magnetic frontman
WILL STONE is impressed by a tour de force rendition of three decades’ worth of orchestral chamber pop
New releases from Toby Hay, Bruce Springsteen, Bonnie Dobson & The Hanging Stars