ANDY HEDGECOCK relishes two exhibitions that blur the boundaries between art and community engagement
Outstanding Palestinian art
JAN WOOLF urges you to visit a courageous and unusual exhibition of work that depicts the Palestinian diaspora
The Star's critic MARIA DUARTE reviews I Am Martin Parr, September Says, The Monkey, and The Gorge
RITA DI SANTO applauds a touching and witty opener that touches a hot topic in Germany: the future of the immigrant population
SIMON PARSONS is discomfited by an unflichingly negative portrait of motherhood and its trials
PAUL FOLEY recommends an extraordinary double bill that packs a punch and leaves you reeling
MARY CONWAY is disappointed by a play about AI that results in a deadening disconnect for its audience
SIMON PARSONS applauds an insightful state-of-the-nation play that explores the growing class divide in South Africa
When The Grapes Were Sour
P21 Gallery, London
THIS fantastic exhibition of black-and-white photographic portraits of Palestinians — some young, some elderly — have been printed onto canvas, the margins of which have been dipped into coffee as burnish.
The artist, Rasha Al Jundi, has then embroidered traditional Palestinian motifs into them (no face is obscured) carefully chosen to suit the sitter and their circumstances.
Each one is an individual of the Palestinian diaspora, as is Rashan Al Jundi who lives in Nairobi.
More from this author
The phrase “cruel to be kind” comes from Hamlet, but Shakespeare’s Prince didn’t go in for kidnap, explosive punches, and cigarette deprivation. Tam is different.
ANGUS REID deconstructs a popular contemporary novel aimed at a ‘queer’ young adult readership
A landmark work of gay ethnography, an avant-garde fusion of folk and modernity, and a chance comment in a great interview
ANGUS REID applauds the inventive stagecraft with which the Lyceum serve up Stevenson’s classic, but misses the deeper themes
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MARJORIE MAYO recommends an exhibition that asserts Palestinian history, culture and creativity in the face of strategies to erase them
JAN WOOLF marvels at the dream-like forms of little-known English surrealist Henry Orlik, whose work reaches back to the traumas of war and migration
CHRISTINE LINDEY salutes an outstanding exhibition imbued with a sense of national guilt