PAUL DONOVAN applauds an intriguing multi-layered depiction, dominated by a stunning impersonation of Marilyn herself
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When less is actually more
ANGUS REID discovers a choice exhibition of Alexander Zyw work - a Pole who adopted Edinburgh in the aftermath of WWII
(L to R) In Depth, 1948-9; The Dance c1948
[The Scottish Gallery]
LEO BOIX applauds an audacious, self-questioning film about grief, friendship and film-making
MARY CONWAY admires a brave and topical study of Armageddon that is, unfortunately, unable to come to a conclusion
ANDY HEDGECOCK, JAMES WALSH and JAMIE BRITTON review Hanging by a Wire, I Want Your Sex, The Pout-Pout Fish, and Rise of the Foot Soldier: Retribution
Chris Searle speaks to US pianist RAN BLAKE
The Bard hands out medals for his Edinburgh campaign and urges us to support The Men They Couldn’t Hang
Alexander Zyw,
Before & After, work from 1934–1951
The Scottish Gallery, Edinburgh
THE most worthy of attention show in lockdown Edinburgh is also the most modest. A dozen paintings in a small room at the Scottish Gallery amount to an account of the impact of WWII on the soul, the mind and the canvas of a great modernist you have probably never heard of.
The artist is Alexander Zyw (1905–1995), who trained in pre-war Poland and who, by a series of accidents, lived in Edinburgh from 1941 – 1970.
He resided in France when Nazi Germany attacked, fought as machine gunner with Polish units. After defeat he escaped via Spain and then wangled the position of war artist with a Polish 1st armoured division based in Scotland.
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