Tyrannosaurs in Thailand, colonialism as videogame, and a feminist gem from 1936
Best of 2024: Jan Woolf
The playwright and artist reflects on the ways in which reviewing can nourish the creative act
Frank Auerbach, Head of EOW, 1960; John Berger; Peter Kennard, Protest and Survive 1980
[© the artist - courtesy of Frankie Rossi Art/Amarjit Chandan/Courtesy of Peter Kenner]
PAUL FOLEY steps gingerly through an exhibition that purports to show east and south-east Asian culture, and questions its intentions
New releases from Alex Wilson and Omar Rios Melendez, Hello Cosmos, and Harry Christelis
MARJ MAYO recommends a lyrical and disturbing account of the tragic suicide in Venice of Pateh Sabally, a refugee from the Gambia
In the face of Trump’s brutal aggression, DODIE WEPPLER and TRISH MEEHAN invite you to share some of the masterpieces of Cuban cinema
ANDY HEDGECOCK recommends an unflinching analysis of the billionaire class that celebrates collective resistance to it
TED HUGHES said that deadlines were good for artists and journos as its imminent arrival provokes fear and therefore adrenalin — and we get on with it. And so, herewith my 12 deadlines for 2024.
The partridge in the pear tree, if you like, was The Flea at Hackney’s Yard Theatre, a vivid production about old hypocrisies. “The poor have got their channels in the bedrooms of the rich.” My pieces need a good haiku of a title and editorial provides them.
The delicious and deceptively mysterious painter “Here Comes the Sun King” on Ken Kiff’s Show, then Peter Kennard’s Archive of Dissent at the Whitechapel Gallery London (on till January 19) which made me hail him in print as the “artist of the human conscience.”
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