Owen Hatherley

Taking​ British Communist art seriously means, to a degree at least, taking British Communism seriously. This is difficult to do when looking at Viscount Hastings’s mural from 1935, The Worker of the Future Clearing Away the Chaos of Capitalism, in what is now the Marx Memorial Library in Clerkenwell. The library is a 1960s reconstruction of an 18th-century school, which by the early...

In November​ 2024, London’s annual Mid-Century Modern fair celebrated its 21st anniversary in Christison Hall, a light, airy, wood and concrete ceremonial space in the grounds of Dulwich College. Here you could shop for Panton, Knoll or Eames chairs, World Expo posters or fabrics by Lucienne Day, and leaf through a range of zines, maps and books, while the building around you radiated...

Adorno​ is easily parodied. Photos on social media show him frog-like, myopic and bald, denouncing the willing consumption of dross, the personal embodiment of a refusal to ‘let people enjoy things’. Another meme features Reverend Lovejoy from The Simpsons derisively brandishing a copy of Minima Moralia: ‘You ever sat down and read this thing?’ (In the original,...

Scandinavia​ was the exemplar for 20th-century British architecture, the place that designers most wanted to recreate. Britain shared with Sweden, Norway, Denmark and Finland a superficially similar history of maritime expansion, Protestantism, capitalism, Labourism and – in Denmark’s case – imperialism. And in the postwar years it aspired to the social democratic consensus...

Fassbinder was flamboyantly gay, proudly ugly, extremely left-wing, outrageously productive and had an astonishing eye. It’s easy to imagine him, if he’d lived, being one of those strange boomers who have managed a seamless transition to the new media reality, a Bob Dylan or David Lynch, posting gnomic tweets, putting out brilliant TikToks and hosting a podcast where he plays Schlager music and discusses Sex-pol theory.