No excuses can hide the criminal actions of a Nazi fellow-traveller in this admirably objective documentary, suggests MARTIN HALL
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
(L) Bosnia Journeys, 1997 - 1998, black and white image projected onto hand painted photographic emulsion on watercolour paper; (R) Flotsam and Jetsam showing Welsby’s reflection in a window, digital colour photograph, 2014
PAUL DONOVAN relishes a fascinating exploration of the leading lights of the Labour right in the 1970s
BEN LUNN alerts us to the creeping return of philanthropy and private patronage, and suggests alternative paths to explore
A novel by Argentinian Jorge Consiglio, a personal dictionary by Uruguayan Ida Vitale, and poetry by Mexican Homero Aridjis
MIK SABIERS savours the first headline solo show of the stalwart of Brighton’s indie-punk outfit Blood Red Shoes
New releases reviewed by IAN SINCLAIR
STEVEN ANDREW is moved beyond words by a historical account of mining in Britain made from the words of the miners themselves
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.
Similar stories
JOHN GREEN marvels at the rediscovery of a radical US photographer who took the black civil rights movement to her heart
MARJORIE MAYO recommends an exhibition that asserts Palestinian history, culture and creativity in the face of strategies to erase them
JOHN GREEN appreciates two photobooks that study the single room of a homeless hostel resident, and a council estate in Exeter
LYNNE WALSH applauds a show of paintings that demonstrates the forward strides made by women over four centuries