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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Garbage, O2 Academy, Leeds
Post-gothic pleasures from masters of rock, electronica and grunge
Engaging: Shirley Manson
[Pitpony Photography]
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
“THIS is the apocalypse,” warns Shirley Manson on the song No Horses and the starkness of that sentiment is undercut by a driving beat and backwards guitar, making it the perfect virtual soundtrack for Extinction Rebellion, staging a protest across town in an attempt to get the government to avert climate Armageddon.
It’s one of the few timely interventions by Garbage during their first Leeds gig for 20 years for, as futuristic as their fusion of industrial rock, electronic music and grunge sounded when they released their eponymous debut album in 1995, the US-British quartet have never really embraced change.
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