Short Cuts: On Marianne Faithfull

Lavinia Greenlaw, 20 February 2025

By the end of 1979, hesitation had given way to dread. We fully expected to be facing the end of the world. Margaret Thatcher had been elected; Russia invaded Afghanistan; Reagan announced he was running...

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Diary: On the Chess Circuit

Nicholas Pearson, 20 February 2025

On​ the morning of 18 April 2023, the chess grandmaster Ding Liren was discussing tactics with his coach. He was due to play game 7 of his world championship match against Ian Nepomniachtchi that afternoon....

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Screaming in the Streets: On Nan Goldin

Lucie Elven, 20 February 2025

Cyclicality – its rhythms, its humour – is central to Nan Goldin’s work. A title such as The Ballad of Sexual Dependency, with its reference to a song, indicates something of the claim the work...

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Not Cricket: On Charles Villiers Stanford

Peter Phillips, 6 February 2025

Stanford was among the first composers in Britain to write church music that was not automatically relegated to the background; and it was Stanford who, through being professor of music at both Cambridge...

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At the Courtauld: Gothic Ivory

Christopher Snow Hopkins, 6 February 2025

The point of the show isn’t to prove that reproductions fail to do justice to the original. The curators argue instead that reproductions have much to tell us about the production of art-historical...

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At the Movies: ‘The Brutalist’

Michael Wood, 6 February 2025

Despite the importance of the architectural meaning of the film’s title, the other meaning, the wrong meaning, is also intimately everywhere, and Brady Corbet does tempt us to believe that nothing and...

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Don’t go quietly: Ken Loach’s Fables

David Trotter, 6 February 2025

It's largely thanks to Loach's example that social realism remains a potent and versatile cultural resource for young filmmakers with something to say about working-class experience in Britain here and...

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On Jean Tinguely

Daniel Soar, 6 February 2025

This is what’s weird about Tinguely: what should be forbidding and abstract – mechanised geometries, industrial detritus – is full of personality. Clearly, people were drawn to him, and he was drawn...

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At the Whitechapel: On Peter Kennard

Brian Dillon, 23 January 2025

Can the art of political photomontage continue to function as print declines and memes both crude and ingenious proliferate?

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Trump has annihilated the idea of charisma. The new leader is not above us. He’s on the screen in our hands. We manufacture him: our fingers are just his size. His rambling, vindictive, uninflected shtick...

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Twinge of Saudade: Abbamania

Chal Ravens, 26 December 2024

Abba became a vehicle for a kind of wholesome perversity, a nonconformist conformism: two picture-perfect couples shattered by divorce; four unimpeachable heterosexuals beloved by multiple generations...

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At the British Museum: ‘what have we here?’

Esther Chadwick, 26 December 2024

Hew Locke asks us to consider imperial power as a grim yet alluring excess of the symbolic, not just as the exercise of brute force. The proliferating connections – from object to object and among the...

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At Camden Arts Centre: On Nicola L.

Jo Applin, 26 December 2024

Nicola L.’s functional objects ratchet up the intensity: her soft sculptures are laced with menace. A tugged-open drawer for a vagina, a grasped nipple for a handle: this is the female body served up...

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Why do architecture and furniture of a century ago still look new, while clothes, cars and even people appear so dated? How did modern design – clean lines, white walls, geometric volumes, open plans,...

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In Camden

Inigo Thomas, 5 December 2024

In no sense was Frank Auerbach a topographical artist. Primrose Hill, Mornington Crescent and the entrance to his studio were his only external frames of reference from the 1960s. Auerbach’s London...

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The global spread of ayahuasca has been driven by two overlapping beliefs in its possibilities: as a life-changing spiritual experience and as a miraculous healing intervention. Both of these bear an at...

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The only certainty about the picture is that it shows Francis Williams. No one has ever been able to discover who painted it, when, where or why. And then, a few months ago, everything changed.

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At the Movies: ‘Anora’

Michael Wood, 21 November 2024

The first hour of Anora, Sean Baker says, belongs to the genre of romantic comedy. This makes interesting sense if we are ready to reconsider the meanings of romance and comedy.

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