RUTH AYLETT admires the blunt honesty with which a woman’s experience is recorded, but detects the unexamined privilege that underlies it
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Visions of horror and joy
ANGUS REID welcomes the retrospective of a unique photographic artist for its demonstration of new avenues in British art, and the human insight it delivers
Welsby 1
IAN SINCLAIR draws attention to the powerful role that literature plays in foreseeing the way humanity will deal with climate crisis
High quality pulp, rollicking online murders, Abnorman Britain, and high skates drama: reviews of The Get Off, Everyone In The Group Chat Dies, Pagans and First To Fall
DENNIS BROE notes what happens to content when the streaming giants incorporate AI and deregulation into their economic models
New releases from The Tenementals, Nik Bartsch’s Ronin, and Kuunatic
SCOTT ALSWORTH hears the call to burn down and rebuild the video game industry from the bottom up
The Chinese language only introduced a feminine pronoun in the 1920s. Now, it might adopt a gender-inclusive one, suggests JANET DAVEY
The Spaces Between: Richard Welsby
Pier Arts Centre, Stromness, Orkney
AT the centre of Richard Welsby’s work lies a unique account of art in the service of a humanitarian mission in the aftermath of war.
The words are simple, honest and direct. They describe the days and the people encountered during an independent film project in Bosnia in 1997, that accompanied a returning refugee and her need to find both her missing husband, and to grieve, and to begin life again. It was a brief but significant intervention that crossed the paths of several witnesses, and led to a forbidden place: a dank cellar beneath a camp that had formerly been a school.
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