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
Latest editorial
Theatre: Moving portrait of a war child's resilience
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
My Friend Selma
Tron Theatre, Glasgow/Touring
TEARING apart thousands of families and displacing over 600,000 refugees from Bosnia and Herzegovina between 1989 and 1992 alone, the Bosnian war was one of the most bitter European conflicts of the last century.
But My Friend Selma, written and performed by Victoria Beesley for the theatre company Terra Incognita theatre company, doesn't concern itself with facts and figures. In fact, the words “Bosnia” and “war” are not even mentioned and we only hear the word “refugee” well into the second half of the 45-minute piece.
Similar stories
PETER MASON applauds a stage version of Le Carre’s novel that questions what ordinary people have to gain from high-level governmental spying
GEORGE FOGARTY is captivated by a brilliant one-man show depicting life in HMP Strangeways
GORDON PARSONS is blown away by a superb production of Rostand’s comedy of verbal panache and swordmanship
ANDY HEDGECOCK recommends that these beautifully written diaries from Gaza be essential reading for thick-skinned MPs