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Wherefore art thou, Sergio?
ALAN CAIG WILSON is hypotised by a compelling and elusive show about love and death
NAKED NARRATIVE: Daniel Goldman in Divine Invention
[Adam Lenson]
GORDON PARSONS enjoys Kant’s ‘mind-boggling’ theory of human reality: that we create the reality we experience
DAVID RABY welcomes a biography that emphasises how Fidel’s unique characteristics became hallmarks of the ongoing Cuban revolutionary process
IAN SINCLAIR recommends a readable, if partisan, account of the astonishing campaign of New York's new mayor
MATTHEW HAWKINS witnesses a contemporary ballet that represents human life as subjected to artificial intelligence
by Marwa Paikan
Divine Invention
Summerhall, Edinburgh
SERGIO BLANCO’s one-man show Divine Invention is part performance lecture, part fictionalised autobiographical memoir. For 65 minutes it draws us in, folding and twisting us through the fabric of its truth.
A man sits at his desk surrounded by props which we read as if reading a film-screen. A notebook, an art-card of a Francis Bacon painting, a microscope (mystifying, and ultimately ultimately enlightening) — objects that encourage us to draw connections.
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