STEPHANIE BROWN draws attention to the hidden labour of the female embroiderers, and how a 19th century replica made no such error
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A powerful, revolutionary salute to continental solidarity
ART IN THE OPEN
LATIN AMERICA MEMORIAL ‘MAO GRANDE’ (BIG HAND)
SAO PAULO, BRASI
Latin America Memorial ‘Mao Grande’ (Big Hand), Sao Paulo, Brasil
[Monica Evelyn da Silva/Creative Commons]
MIK SABIERS revels in a band that ploughs an idiosyncratic furrow of expletive laden, guitar-driven alt rock
ANDY HEDGECOCK, MARIA DUARTE and ANGUS REID review Synthetic Sincerity, Our Hero, Balthazar, Heartstopper Forever, and A Year In London
The bard invites readers to a gig, raps for Clacton, and lays out the Burnham-Hurzeler conundrum
RON JACOBS recommends an important book that enhances the oppositional theories put forth by Fanon and, in doing so, remakes psychology itself
JAN WOOLF relishes an extensive history of our long relationship to trees in Britain that underlines the current emergency
DIANE WATT argues that while evidence of sex is not there, a 16th‑century lesbian poet could be Scotland’s answer to Gentleman Jack
THE Latin America Memorial is a cultural, political and leisure complex, inaugurated in 1989 as a centre for the integration of the continent. Its architecture is by Oscar Niemeyer.
It houses a permanent collection of art on display in- and outdoors and a library of over 30,000 titles, and holds numerous exhibitions, conferences, debates and all manner of performances.
In the middle of its central “public square” there is a more than seven-metres-tall modernist concrete sculpture of an open hand with a vermilion red “stigmata” wound cut into the middle of the palm, shaped like the Central and South American continents, including Cuba.
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