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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Hidden meanings revealed
Artist LR VANDY takes Ruby Fischer on an eye-opening tour of her challenging new exhibition at October Gallery in London
UNIQUE COMBINATIONS: (Left to right ) Black, Green and Copper, Guardian, Red Dart, Red and Yellow
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
LR VANDY stands at the centre of the October Gallery’s light-filled gallery, her brow furrowed at a sculpture on the wall beside her.
It’s a two-metre long model sailing boat upended so that its black-and-green V-shaped hull, adorned with sleek copper chains, faces the middle of the room.
With a deft hand, she tugs at a chain which has shifted out of place. The correction is imperceptible but she’s insistent: “If you look closely you’ll know, because it’s not symmetrical,” she tells me.
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