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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Capturing the ruptures of our time
IAN SINCLAIR recommends Jim Ghedi’s interpretation of Harry Cox’s What Will Become Of England
Jim Ghedi
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
FROM Bob Dylan’s Blowin’ In The Wind to Billy Bragg’s 1985 rendition of Florence Reece’s Which Side Are You On? and more recently Ill Manors, Plan B’s reaction to the 2011 riots, every so often a musical artist perfectly captures the socio-political ruptures of their time.
What Will Become Of England, the new single from Jim Ghedi, feels like one such song.
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