MICHAL BONCZA and MARIA DUARTE review The Stranger, Undertone, and Outcome
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Equestrian sculptures of Manuel Rodriguez in Chile and Jose Gervasio Artigas in Uruguay
Innovatory tributes to leaders of popular rebellions
(L to R) Manuel Rodriguez; Jose Gervasio Artigas
[Kees van Tilburg/equestrianstatue.org]
WILL STONE applauds the anniversary tour of Pills 'n' Thrills and Bellyaches by Madchester icons, Shaun and Bez
JAN WOOLF invigilates images that meditate on Palestine, and the people who witness them
A murderous convention of crime writers, a hymn to nursing, a monster hunt, and robber baron capitalism
MARY CONWAY is disappointed by a three-hander that broaches big themes, but doesn’t transcend dry academia
DAN GLAZEBROOK eavesdrops on the bourgeois intelligentsia and the stories it tells itself at this moment of crisis
WHILE equestrian statues are probably the most ubiquitous of all public monuments in Western towns and cities, their aesthetics are predictably formulaic.
Three or four standard formats are replicated ad nauseam and most are offensive examples of wars waged by the rapacious elites of any given country.
Roman emperor-philosopher Marcus Aurelius, whose 2,000-year-old equestrian statue is the oldest complete one in existence, is without armour or weapons as befits a supposed bringer of peace.
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