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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Fulfilment Centre
by Tim Fellows
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
After work he liked to walk the muddy paths
around the lake and up the man-made hill.
Survey the scene. The sprawling warehouse
where he earned his pay squatting on land
where once the wheels had spun, conveyors
rolled and great buckets of black rock
were lifted from miles below the ground.
Where his dad and grandad, and his dad before,
had earned their pay. And he had too,
a flash of time before it was all cleared
away, cleansed and sanitized. The days
when he was married, when they worked
in heat and dust, watched each others’ backs.
Now he was just a robot with skin and flesh,
waiting to be replaced by one that didn’t
need to sleep. That wouldn’t feel the wind
at the top of this hill, that had no memories.
One that fulfilled orders
and never needed to be fulfilled.
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