MAYER WAKEFIELD has reservations about the direction of a play centered on a DVLA re-training session for three British-Pakistani motorists
Broken Gargoyles, Fridman Gallery, New York
WWI horrors the focus of haunting lockdown show from Diamanda Galas
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New releases from Steve Knightley, Jupiter & Okwess, Jason Palmer, Lisa Knapp and Gerry Driver, Kin'Gongolo Kiniata, Ingrid Laubrock/Tom Rainey, Dan Sealey, Simin Tande, PAZ
JOHN GREEN relishes photography that unfolds a longstanding and poetic relationship with Leeds
A uncomfortably misogynistic authorial voice that sometimes seems to lack insight troubles FIONA O’CONNOR
MARY CONWAY is disappointed by a production that panders – if inadvertently – to Western prejudice against China
JOHN GREEN is fascinated by a history that excavates the enormous role played by agricultural workers in recent times
ALEX HALL recommends a book that places empirical evidence at the heart of understanding racism
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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