PAUL DONOVAN applauds an intriguing multi-layered depiction, dominated by a stunning impersonation of Marilyn herself
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Honouring Ian Spink (1948-2023)
MATTHEW HAWKINS pays tribute to an inspirational dancer and choreographer
INSPIRATIONAL: Ian Spink during a rehearsal in the Schoolhill Studio, Aberdeen
[Colin Thom]
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
THE Ian Spink Group emerged in London circa 1980. The troupe’s flyers featured an image of an unpeopled thoroughfare curving away enigmatically, yet the show the image heralded was (as I then saw) rich with dancing, new music and handmade design.
Dead Flight fixes in my memory, with its installed transverse section of aircraft fuselage and its pencil-skirted crew enacting deadpan variations on post-armageddon duck-and-cover scenarios.
I caught The Blue Table, a bureaucratic flourish featuring cashmere twinsets, filing cabinets, handbags, dog-biscuits, and verbal patter.
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