The Star's critic MARIA DUARTE reviews Sebastian, Four Mothers, Restless, and The Most Precious of Cargoes
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Hew Locke, The Procession
CHRISTINE LINDEY recommends a feast for the senses with a social message at Tate Britain – and running till October
JOHN GREEN explores the argument that psychiatry needs to move away from the idea of just seeing and treating the individual
SYLVIA HIKINS applauds a polemic against “cleanfluencers” and considers radical alternatives to current inequalities of housework
RUTH AYLETT admires the blunt honesty with which a woman’s experience is recorded, but detects the unexamined privilege that underlies it
IAN SINCLAIR draws attention to the powerful role that literature plays in foreseeing the way humanity will deal with climate crisis
High quality pulp, rollicking online murders, Abnorman Britain, and high skates drama: reviews of The Get Off, Everyone In The Group Chat Dies, Pagans and First To Fall
DENNIS BROE notes what happens to content when the streaming giants incorporate AI and deregulation into their economic models
HEW LOCKE is among the rare artists like Goya and Picasso who succeed in confronting harsh political and social injustices by visually seducing the viewer. He explains: “What I try to do in my work is mix ideas of attraction and ideas of discomfort — colourful and attractive, but strangely, scarily at the same time.”
The Procession is Tate Britain’s annual commission, and Locke seized this well funded opportunity to produce his large installation which fills the grandiose Duveen Gallery on the ground floor with almost 150 variously dressed life-size figures, some of whom ride life-size horses.
A small group of men are dressed in sober black suits and white shirts with one adorned with a dignitary’s gold chains and medals. Most figures wear flamboyantly coloured textiles some printed with images of Guyanan tropical mansions in various states of repair and roofed with rusting corrugated iron, which invite thoughts of the rhythmic beat of tropical rainfall.
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