In his second round-up, EWAN CAMERON picks excellent solo shows that deal with Scottishness, Englishness and race as highlights
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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
Fiery words from the Bard in Blackpool and Edinburgh, and Evidence Based Punk Rock from The Protest Family
MATTHEW HAWKINS is mesmerised by a performance that dissolves the line between audience and performer
MATTHEW SHARPE recommends the essays of a Renaissance politician that instruct and unnerve after 400 years
GAVIN O’TOOLE welcomes the reissue of a seminal work of revolutionary theory that have genuine relevance in the current context
RON JACOBS rides shotgun with a member of Black Bloc on the wave of anti-capitalist protests of the 1990s and early 2000s
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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