MARIA DUARTE reviews Desperate Journey, Blue Moon, Pillion, and Wake Up Dead Man: A Knives Out Mystery
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Broken Gargoyles, Fridman Gallery, New York
WWI horrors the focus of haunting lockdown show from Diamanda Galas
'BROKEN GARGOYLES': Images from Plastic Surgery of the Face by Sir Harold Gillies, 1920
WILL STONE enjoys a set by an artist too eclectic to be pigeonholed
RUTH AYLETT reviews two collections of outright political poetry
The book feels like a writer working within his limits and not breaking any new ground, believes KEN COCKBURN
PRAGYA AGARWAL recommends a collection of drawings that explore the relation of indigenous people to the land in south Asia, Africa and the Caribbean
CHRIS SEALE speaks to Palestinian sound artist BINT MBAREH
MARY CONWAY applauds a brave and timely two hander that explores the difference between intimacy and abuse
LOCKDOWN has led to a wholesale change in how art is created, experienced and consumed and the SO⅃OS series at New York’s Fridman Gallery is as good an example as any.
Reflecting New York’s shelter-in-place guidelines, only the performer is present in the room and the space itself is the viewer.
Over 12 weekly shows inside the empty gallery, each performer makes the space their own, whether with glitch pop from Victoria Keddle, C Lavender’s Impulse Chamber or Diamanda Galas’s sound work Broken Gargoyles.
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