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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by Rose Lennard
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
I’ve crossed a line and now they have
my DNA, my shoe size, fingerprints.
In return I get a vegan meal, hot drinks.
Meanwhile, more kids in Gaza starve.
I can do no more today. The acoustics
are to die for between these echoing walls
as my voice swells into Wonderful World.
The deep breathing’s therapeutic,
and sound wells from me in defiance
the way earlier, choirs sang We Will Overcome
and Gaza Will Be Free, as one by one
they lifted, carried us to waiting vans.
I fold a plane from the page titled Women
in Detention. Its tiny flight cries freedom.
Although an otherwise law-abiding 63-year-old, Rose Lennard has been arrested twice for protesting against the ban on Palestine Action. Her poetry has been published in many print and online journals and anthologies, including Rattle, Mslexia, Stand, Atrium, Magma and Ink, Sweat and Tears.
