DENNIS BROE finds much to praise in the new South African Netflix series, but wonders why it feels forced to sell out its heroine
Visual time capsules
MICHAL BONCZA sees an exhibition of photography that offers intriguing glimpses of Britain
(Left) Untitled, (Right) Untitled
[Huxley-Parlour] 
CARL DEATH introduces a new book which explores how African science fiction is addressing climate change
In his second round-up, EWAN CAMERON picks excellent solo shows that deal with Scottishness, Englishness and race as highlights
Fiery words from the Bard in Blackpool and Edinburgh, and Evidence Based Punk Rock from The Protest Family
MATTHEW HAWKINS is mesmerised by a performance that dissolves the line between audience and performer
MATTHEW SHARPE recommends the essays of a Renaissance politician that instruct and unnerve after 400 years
GAVIN O’TOOLE welcomes the reissue of a seminal work of revolutionary theory that have genuine relevance in the current context
Jamie Hawkesworth: The British Isles, 2007-2020
Huxley-Parlour Gallery, London
HENRI CARTIER-BRESSON once said: “A photograph is neither taken or seized by force. It offers itself up. It is the photo that takes you. One must not take photos,” adding elsewhere that “it is an illusion that photos are made with the camera … they are made with the eye, heart and head.”
There is ample evidence here that Jamie Hawkesworth fully concurs as the work effectively displays much of the approach advocated by Cartier-Bresson. Particularly noticeable is the uniformly sublime composition, robust in appearance and mostly in close up which mesmerises.
Similar stories
Peter Mitchell's photography reveals a poetic relationship with Leeds
This is poetry in paint, spectacular but never spectacle for its own sake, writes JAN WOOLF
ANDY HEDGECOCK relishes two exhibitions that blur the boundaries between art and community engagement
The Morning Star sorts the good eggs from the rotten scoundrels of the year