JAMES WALSH is moved by an exhibition of graphic art that relates horrors that would be much less immediate in other media
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Statues of limitation
MICHAL BONCZA draws attention to the problematic position that statues of historical figures have in our public spaces
VEXED PRESENCE: (L to R) Stepan Bandera monument in Ternopil, western Ukraine; Colston, from the Hew Locke series Restoration, 2006; ‘Shame’ painted on the Karl Lueger statue in Vienna, 2020
RON JACOBS welcomes the translation into English of an angry cry from the place they call the periphery
GUILLERMO THOMAS recommends a useful book aimed at informing activists with local examples of solidarity in action around the world
HENRY BELL is provoked by a book that looks toward, but does not fully explore the question of who gets to imagine the shapes of cities to come
MATTHEW HAWKINS surveys the upcoming programme of contemporary dance in Glasgow, and picks some highlights
‘Chance encounters are what keep us going,’ says novelist Haruki Murakami. In Amy, a chance encounter gives fresh perspective to memories of angst, hedonism and a charismatic teenage rebel.
EVERY JANUARY, and this one’s no exception, witnesses a ritual of defacing or bringing down of statues of James Cook in Australia in well-planned interventions by those who protest against linking Australia Day to his arrival on the continent in January 1788 and the genocide of native people that followed.
Nearly 20 years earlier, in 2006, British artist Hew Locke mercilessly ridiculed slaver Edward Colston by adorning his statue in Bristol with glittering, ersatz-gold regalia and trinkets as part of his Restoration series.
Locke’s intention to expose Colston’s involvement in corruption and enrichment through slavery was abundantly clear but, at the time, the message remained largely within the realm of contemporary art.
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