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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Dance insurrection from the Underworld
Peter Lindley reviews Underworld at the Eventim Apollo, London W6/Touring
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
5/5
Stalwart electro-dance insurrectionist Karl Hyde is nothing if not a loyalist to the cause of reclaiming the dance hall for ravers.
So it proves at this gig, with The Underworld vocalist Hyde — along with Darren Price, standing in for the indisposed Rick Smith — triggering trance electronics and hitting on the dub as they harness the hybrid force of ambient chill-out, wild white noise, dark matter songs and the triumphant joy and release of the big beat anthem.
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This is a concert of ambition and courage by organist and improviser Wayne Marshall, says SIMON DUFF