GABRIELE NEHER draws attention to an astoundingly skilled Flemish painter who defied the notion that women cannot paint like men
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The New Abject
Real and abstract revulsion compelling themes of dread-zone anthology
ORACLE OF ABJECTION: Julia Kristeva
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The Bard pays homage to Hull’s finest promoter and venue, and awards Douze Points to Laibach
KEVIN DONNELLY outlines how the bourgeois institutions inhibit our ability to to view art in revolutionary ways, and suggests some tactics to overturn it
ANDY HEDGECOCK welcomes an accessible - and optimistic - take on our relationship to new technology
JOHN GREEN suggests that a new, biased, and highly readable re-hash of the story of the Cambridge Five be taken with a large pinch of salt
BRENT CUTLER welcomes a timely reminder of the long history of protests and the outdoor spaces in which they takes place
ACCORDING to critic and psychoanalyst Julia Kristeva, abjection involves either a confrontation with our sense of physical being or a separation between the self and a rejected “other.” Objects of revulsion can be tangible, such as faeces and bodily fluids, but some forms of dread are abstract and ambiguous.
The New Abject collection of horror stories draws on the broad nature of Kristeva’s definition, which has inspired a loosely related set of tales that deal with the things that make us shudder and retch.
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