Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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Broken Gargoyles, Fridman Gallery, New York
WWI horrors the focus of haunting lockdown show from Diamanda Galas
'BROKEN GARGOYLES': Images from Plastic Surgery of the Face by Sir Harold Gillies, 1920
SIMON DUFF relishes the cross contamination of Damien Hirst’s greatest hits by street artists from France and the US
In view of the grooming gangs inquiry, SIMON PARSONS feels the relevance of this powerful examination of trauma suffered at Medomsley Youth Detention Centre
JOHN GREEN doubts the motivations of a US war photographer who never questions why, or for whom, she is producing images of imperialist conflict
MARIA DUARTE reviews Springsteen: Deliver Me From Nowhere, Hedda, The Mastermind, and Regretting You
TONY CONWAY welcomes a thrilling and concise history of Hope not Hate, that is also a manual full of tactical advice
PAUL DONOVAN welcomes an inspiring account of living with deafness that has important lessons for the treatment of deaf people in today’s UK
LOCKDOWN has led to a wholesale change in how art is created, experienced and consumed and the SO⅃OS series at New York’s Fridman Gallery is as good an example as any.
Reflecting New York’s shelter-in-place guidelines, only the performer is present in the room and the space itself is the viewer.
Over 12 weekly shows inside the empty gallery, each performer makes the space their own, whether with glitch pop from Victoria Keddle, C Lavender’s Impulse Chamber or Diamanda Galas’s sound work Broken Gargoyles.
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