ANDY HEDGECOCK, MARIA DUARTE and ANGUS REID review Synthetic Sincerity, Our Hero, Balthazar, Heartstopper Forever, and A Year In London
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Harvest of a hungry pencil
In the 1960s Feliks Topolski revitalised the ancient art of chronicle with panache and gusto. MICHAL BONCZA looks at the work
(L to R) Public Opinion: Anti-apartheid demonstration in Trafalgar Sq, March 27 1960; Nye Bevan, 1954
[Estate of the Artist]
KEITH RICHMOND relishes a superbly conceived modern version of Aeschylus’ drama of murderous family succession
MICHAL BONCZA recommends a minimalist installation that prompts intriguing connotations
FIONA O’CONNOR questions the achievement of this year’s Orwell prize winner for political fiction
LEO BOIX reviews two powerful Latin American novels in which myth and crime fiction expose the deadly consequences of patriarchy, clandestine abortion and state violence
New releases from Laura Veirs, The Waterboys, and Yard Act
Ron's rages are sincere and — according to his wife — healthily cathartic. But can these splenetic outbursts loosen the grip of capitalism at its most monstrous?
Punks, Princes and Protests: The Chronicles of Feliks Topolski
Arch 158 Hungerford Arches / POSK Gallery, London
THERE is a feel of an impromtu informality of an artist’s studio in this show of Feliks Topolski’s sketches and drawings.
They fill the walls so high that accidental neck twisting is a distinct possibility — you have been warned.
But who was Topolski? He arrived in Britain in 1935 as a graphic correspondent of Wiadomosci Literackie/Literary News — Warsaw’s popular socio-cultural weekly — liked it here and just stayed on setting up a studio under one of the arches of the Hungerford Bridge in London where this exhibition is housed.
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