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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Riding out the storms from Zorro to Montoneros
REVOLUTION ON THEIR MIND: (L to R) Rodolfo Walsh and Peter Paul Rubens: Portrait of a Young Man in Armour, 1620 - reputedly William Lamport, aka Guillen Lombardo, aka ‘Zorro’
[(L to R) Marco Rodriguez Garrido /creative Commons and Wikipedia]
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 One Bright Island Flown
Irish Rebels, Exiles and Martyrs in Latin America
by Tomas Mac Siomoin
Nuascealta, £7.30
THE defeat of the Gaelic Irish, supported by Spanish forces, at the battle of Kinsale in 1601, was the final blow in the English conquest of Ireland and a watershed in Irish history.
Following this, a great number of the aristocratic and military leaders of Gaelic Ireland fled the country to escape criminalisation by the colonising English.
This brought with it the rapid decline of the Gaelic society and culture, eventually leading to the near destruction of the Irish language.
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