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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Brilliant black body of work
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
Ballet Black
Oxford Playhouse/Touring
THE RECENT Queer Art exhibition at Tate Britain in London pays a much-needed tribute to Jamaican dancer and choreographer Berto Pasuka, who founded Les Ballet Negres in 1946. Not only the first company in Britain to be composed of black dancers, it was also the first to offer what fellow dancer Richie Riley later described as “in every shape and form, ballet in a black idiom.”
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STEVE JOHNSON relishes a celebration of the commonality of folk music and its links with the struggles of working people the world over
STEPHEN ARNELL looks back to when protesters took to the streets in London demand to Irish liberty, fair pay and free speech — and wonders what’s changed in 138 years
DAVID NICHOLSON recommends a dazzling production of Bernstein’s opera set in a world where chaos and violence are greeted by equanimity
