JAMES WALSH is moved by a provocative and original take on the relationship between ecology and architecture, and a plea to work with, not against, the materials and minerals of our world
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Dillon, Queen Elizabeth Hall, London
An immersive, participatory display by a queer Australian Aboriginal performer, and a rebellious unravelling of traditional Scottish dance
EWAN CAMERON witnesses a political farce that lacks a clear message
EWAN CAMERON picks out two fascinating music shows, fusing the Korean, and the Celtic, with the modern
BENJAMIN POTHIER suggests that Palaeolithic cave paintings in Spain point to the ceremonial use of hallucinogenic flora
The bard confirms that the right has a humour bypass, and replays the English Revolution on period instruments
DOMINIQUE DILLON de BYINGTON plays plaintive piano pop for the autumn season.
The Brazilian-born, Berlin-based, artist casts a demure presence as she slips out from behind a black curtain to sit at a single grand piano at the centre of the stage.
Uttering the odd quiet “thank you” in-between her bleak ballads, Dillon has a mournful beauty to her voice that is spellbinding to listen to.
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