The exhibition’s title refers to the boxes/cages in which Bacon confines his subjects. The viewers/voyeurs can see them; the subjects can only feel them confining them. The paintings are undeniably disturbing — only the unconscious or dead would not be disturbed.
“We are anti-racist and anti-fascist” claimed the Clash in their first interview with the then important music paper the NME. They explained that they had been at the riot at the Notting Hill Carnival that year (1976) and thought that “young white kids” needed to develop a culture of their own in order to fight back as black people were doing.
It has been five years since Polly Jean Harvey’s last and much celebrated album Let England Shake, which adopted a more overtly political approach to music, with haunting imagery of poverty and war.
Since then we have seen Harvey speak out through a song about Shaker Aamer, the British Guantanamo Bay ex-detainee held for over 13 years without charge.
This is an important documentary on the inspirational life of the Marxist revolutionary, CLR James, structured around his books and illuminating some of his more overlooked work. The film is narrated through interview material with different writers and people who knew James, providing a detailed account of his intellectual contribution.
The secret world of tax evasion and dirty financial dealing revealed by the Panama papers is the setting for this adaptation of John Le Carre’s 2010 novel.
Specifically, Our Kind of Traitor delves into the realm of Russian mafia and oligarchs and their connections to British financial institutions — and politicians.
The assistant curator told me to pick up an orange. So I did. Because this is conceptual art. The orange was part of a sculpture intended to make us think about art as something to be consumed — if not it will decay, be good for nothing. Art depends on active participation, in this case the consumption of an orange, the conversion of matter into energy.
How is that art? It is not an art object as we knew it — the idea is now the thing. This is art as a question: firstly questioning the very nature of art and secondly art as a valid medium for questioning its context.
Britain as Revealed by International Photographers, curated by renowned photographer Martin Parr, is a fascinating investigation into the social, political and cultural lives of working class people in Britain from the 1930s to the present.
Some 250 photographs are on display taken by 23 different photographers. What links them is that none are British. These photographers came to Britain to capture the lives of the “ordinary”. As outsiders they brought a new and fresh perspective on the everyday life of working people.
The films of writer/director Alan Clarke are some of the most forceful, passionate and challenging in the history of British cinema and television.
Most of his acclaimed work has been unavailable to the public ever since his untimely death in 1990. Thankfully, the British Film Institute has released a definitive reissue of 23 BBC television dramas spanning Clarke’s remarkable 30-year career.