GORDON PARSONS is bowled over by a skilfully stripped down and powerfully relevant production of Hamlet
Chinese contemporary art
SIMON DUFF walks us through a fascinating display that is bold, optimistic and spiritual
In which we accompany the Bard into Cymru to meet his musical accomplices, young and old
SUE TURNER is inspired by the example of a librarian’s struggle to confront the book-banning movement
ANDY HEDGECOCK relishes two exhibitions that blur the boundaries between art and community engagement
The Star's critic MARIA DUARTE reviews I Am Martin Parr, September Says, The Monkey, and The Gorge
RITA DI SANTO applauds a touching and witty opener that touches a hot topic in Germany: the future of the immigrant population
SIMON PARSONS is discomfited by an unflichingly negative portrait of motherhood and its trials
Atlas: Harmony in Diversity
Chinese pavilion, Venice Bienale
VENICE, in all its majesty and cultural splendor, is a city that needs a Biennale more than ever. As the population continues to decline and many buildings lie empty a new focus and cultural re-awakening is vital.
The 60th Biennale, entitled Foreigners Everywhere, is designed to showcase art from around the world and runs from April to November in venues across the city. There are many highlights: painting in the Venice pavilion, the extraordinary film and sonic work about the Ukraine war in the Polish exhibition, the ambition of hyper-historical migrant themes in the Spanish Pavilion.
But the work that perhaps best demonstrates the tightrope balancing act of looking both to the past and future is highlighted at the China Pavilion.
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