To rescue Kahlo from the clutches of the corporate art market, we need to acknowledge the overt and covert political dimensions of the work, demands GAVIN O’TOOLE
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England, the Old People’s Home
If you can see past the relentless commodification you will be rewarded by enormously powerful work, suggests JENNY MITCHELL
CHRIS SEARLE revels in the one-off collaboration between an American polymath and a British Muslim, and detects the presence of their revolutionary forebear
GORDON PARSONS revels in an ebullient production of Shakespeare’s magical comedy
BRENT CUTLER welcomes a thoughtful analysis of the Erdogan regime, viewed through the evolving history of a neighbourhood in Istanbul
GORDON PARSONS regrets the price, but is dazzled by an outstandingly ambitious study of the way art restoration in particular, and culture in general was weaponised by the Nazis
My mother walks cold corridors, lost
underneath a mask. Bends to do her dirty work,
Picking up white people’s shit.
Not a metaphor, how she feels about this land,
but a turd left on the floor, her duty done with care
as another wreck of bones squats
to release his thoughts about the influx —
Why are there so many blacks?
The mask stops her from howling in response.
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