Back from a mini tour of Yorkshire and Stockport and cheering for supporting act Indignation Meeting
Modest exhibition interrogates unsavoury past as V&A offers a ‘mea culpa’
goldweights
ALISTAR FINDLAY is mesmerised by this multiple ‘Visions of Scotland’ assault on the audience’s eyes and senses
The Star's critics ANGUS REID, ANDY HEDGECOCK and MICHAL BONCZA reviews I Am Love, The Penguin Lessons, Freaky Tales, The Thicket
MAYER WAKEFIELD has reservations about the direction of a play centered on a DVLA re-training session for three British-Pakistani motorists
New releases from Steve Knightley, Jupiter & Okwess, Jason Palmer, Lisa Knapp and Gerry Driver, Kin'Gongolo Kiniata, Ingrid Laubrock/Tom Rainey, Dan Sealey, Simin Tande, PAZ
Peter Mitchell's photography reveals a poetic relationship with Leeds
A uncomfortably misogynistic authorial voice that sometimes seems to lack insight troubles FIONA O’CONNOR
ASANTE GOLDWEIGHTS
Victoria and Albert (V&A), London
IN THE Metalware Gallery (Room 116) at the V&A a humble display of Asante Goldweights has acquired a significance far beyond the modest number of the items on display.
“It reflects the developing discussions in museums around decolonisation and the need for us to be open about the V&A’s history as both an expression and a driver of 19th-century imperialism,” writes V&A senior curator Angus Patterson in a companion piece.
This honesty needs to saluted as it marks a significant step in a process that would hopefully lead to a significant restitution of art treasures hoarded in British museums which are, more often than not, of great social, cultural and political significance to their original creators.
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