Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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A woman of peace and the people
Jenny Farrell pays tribute to the great German artist and sculptor KATHE KOLLWITZ
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
KATHE KOLLWITZ’S work reflects the events of the first half of the 20th century yet she continues to stand tall among anti-war artists and champions of the dispossessed of the present time.
Kollwitz broke completely with bourgeois aesthetics and made the subjugated and humiliated working class her sole artistic subject. Her work eloquently expresses the force, resistance and humanity of this class. Very often, she focuses on individuals or small groups who exemplify the fate of thousands, balancing their misery with dignity and human kindness.
This year marks the 150th year since her birth in Kaliningrad. The daughter of a bricklayer who recognised his daughter’s artistic talent early on, she was barred from studying art as a woman in her hometown and moved to Berlin and Munich to pursue her education.
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NICK MATTHEWS previews a landmark book launch taking place in Leicester next weekend
JOHN GREEN observes how Berlin’s transformation from socialist aspiration to imperial nostalgia mirrors Germany’s dangerous trajectory under Chancellor Merz — a BlackRock millionaire and anti-communist preparing for a new war with Russia
CHRISTINE LINDEY welcomes a film that focuses exclusively on women war artists, but deplores its omission of feminism, political context and Soviet anti-war art
