GABRIELE NEHER draws attention to an astoundingly skilled Flemish painter who defied the notion that women cannot paint like men
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Papyllon
Resonant interpretation of butterfly's struggle for survival
TECHNICALLY IMPRESSIVE: Ella Mesma
The Bard pays homage to Hull’s finest promoter and venue, and awards Douze Points to Laibach
KEVIN DONNELLY outlines how the bourgeois institutions inhibit our ability to to view art in revolutionary ways, and suggests some tactics to overturn it
ANDY HEDGECOCK welcomes an accessible - and optimistic - take on our relationship to new technology
JOHN GREEN suggests that a new, biased, and highly readable re-hash of the story of the Cambridge Five be taken with a large pinch of salt
BRENT CUTLER welcomes a timely reminder of the long history of protests and the outdoor spaces in which they takes place
THE coronavirus has had a particularly disastrous effect on dance, which is normally dependent on close bodily contact between dancers and on interaction with a live audience.
Digital works are seeking to fill the void by tailoring their choreography to suit creative filming techniques and the Ella Mesma Dance Company’s Papyllon is one such.
Based on the butterfly’s life cycle as a means to “interrogate identity, privilege and imposter syndrome,” Ella Mesma uses long aerial silks as her only props and wears an unpretentious flesh-coloured leotard which echoes her creamy mixed-race skin tones,
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