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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Architecture and art: Controversy on the banks of the Spree
The Humboldt Forum, the newest addition to Berlin’s Museum Island, is as ambivalent architecturally as its content is ethically problematic. MIK SABIERS has the story
PILLAGE: (L to R) Benin bronzes like this - at the Bode Museum - will no longer be displayed at the Humboldt; the ship from Luf, Bismarck Archipelago, Papua New Guinea c1890
[Marsupium via Wikimedia Commons]
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
BERLIN’S Museumsinsel (Museum Island) is a cultural collection of ancient, old and modern art galleries in the heart of Germany’s capital city.
From the Pergamon Museum housing Islamic antiquities to the Bode Museum with Byzantine art there’s now a new, yet old, addition in the recently opened Humboldt Forum.
Built on the site of the former East German parliament, itself built on the site of a former royal palace, the Humboldt houses a controversial collection of artefacts, but is also contentious in itself.
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