avant-garde
aleks.sierz
Is the theatre of the absurd dead? In today’s world, when cruel and crazy events happen almost daily, the idea that you can satirize daily life by exaggerating its latent irrationalities seems redundant. For this reason, perhaps, revivals of plays by Eugène Ionesco have been rather infrequent in recent years.His masterpiece, Rhinoceros, which was first staged in 1959 and is now revived at the Almeida Theatre, does present a challenge. Its central point is simple: conformity results in monstrous dictatorship. So how do you make this interesting for an audience today? Director and translator Read more ...
Sarah Kent
The best way to experience Ed Atkins’ exhibition at Tate Britain is to start at the end by watching Nurses Come and Go, But None For Me, a film he has just completed. It lasts nearly two hours but is worth the investment since it reveals what the rest of the work tries hard to avoid openly confronting – grief.Actor Toby Jones reads from a diary kept by Atkins’ father, Philip during the months before his death from cancer in 2009. With mordant humour, he titled it Sick Notes and, by turns, the entries are sad, funny, banal or full of pain and fury. Jones’ audience is a group of young Read more ...
India Lewis
The End, a quasi-musical from Joshua Oppenheimer, who has previously only produced documentaries, is a surreal examination of a group of individuals isolated from the chaos of a collapsing external world. Sheltered (or trapped?) in an eerily beautiful salt mine are a mother (Tilda Swinton), father (Michael Shannon), son (George MacKay), their doctor (Lennie James), butler (Tim McInnerny), and friend (Bronagh Gallagher).The inhabitants of the mine are themselves preserved in salt, a sort of hermetic stasis that forbids the incursion of the outside world. The mother’s hair remains artificially Read more ...
joe.muggs
The question of personality in abstract and ambient music has always been a fascinating one. Without conventional signifiers of expressiveness, and especially in the age of AI, it’s easy for people to think “a computer could have done that”. Indeed, there’ve been plenty of musicians from Brian Eno levels of prominence on down who have played with this, using algorithmic generation, anonymity and so forth as part of the project.That’s never been the case for Canadian musician Tim Hecker, though. The fact that this is a collection of extracts from Hecker’s recent film and TV soundtrack Read more ...
Gary Naylor
There are two main reasons to revive classics. The first is that they are really good; the second is that they have something to say about how the world is changing, perhaps more accurately, how our perception of it is changing. Both are true of Annie Kershaw’s slick, sexy, shocking production of Martin Crimp's translation, up close and personal, at the Jermyn Street Theatre.Even if you haven’t seen the play (and, with productions as frequent as they have been, many buying tickets for this sold out run will have) the set-up is familiar. Two maids, resentful of their unpredictable and needy Read more ...
Sarah Kent
I thought I might never be able to say it’s been a great year for women artists, so forgive me for focusing solely on them.Things were kickstarted with a retrospective of Barbara Kruger (Serpentine Gallery) who uses words and images to illuminate the way language is (mis)used to cajole, bully, manipulate and lie. Having explored similar territory for 50 some years, you’d have thought the American artist would have run out of ideas. Not a bit of it. Dominating the central space was a huge screen showing Untitled (No Comment) (main picture) which explores the Orwellian soup of Read more ...
joe.muggs
I don’t really want to talk about this year. Genuinely.It’s been so horrific on the macro scale with deranged Fascism and the effects of rampant and undeniable climate change looming everywhere you look – and on the personal level I’ve been been bombarded with all the inevitable, arbitrary slings and arrows that life can muster, from multiple bereavements on down – that I’d very much rather just neck a load of tranquilisers and fine wines and resolutely enter my hands-over-ears, “lalalala can’t hear you”, era. And yet, and yet… life persists, culture persists, community persists, Read more ...
India Lewis
On a wet, dreary, winter evening in north London, at Islington Assembly Hall, a crowd gathered for an ethereal although not always engaging set by Julia Holter.The opener was Nyokabi Kariüki, an experimental musician who played with loops, found sound, and a haunting, keening voice. She introduced her newer album by discussing her interest in language and the complexities of it, of her knowledge of English and Swahili, something that was explored well in the pieces that she played, solo onstage.Julia Holter came in without preamble and without introduction, standing behind her keyboard in a Read more ...
Jack Barron
Jon Fosse talks a lot about thinking. He also thinks – hard – about talking. His prolific and award-winning career in poetry, prose, and drama, might be said, in fact, to unfold a digressive single thought, uttered always in a characteristically reflective and deceptively simple grammar: "thinks" and "says" are the main verbs of this thought, the syntactic centres around which he constructs his gently serious investigations into the life and limits of various verbal worlds.His books – "novel", "novella", or "short story" can seem aptly unjust – make repeated returns to the edges of Read more ...
Sarah Kent
Picture this: framing the stage are two pearlescent clouds which, throughout the performance, gently pulsate with flickering light. Behind them on a giant screen is a spinning globe, its seas twinkling like a million stars.Suddenly, this magical image is rent asunder. Thunder and lightning shake the heavens and torrential rain cascades down in stair rods. Spotlights flash and dance through billowing smoke while Laurie Anderson serenades the tempest on her violin and Kenny Wollesen lashes symbols and drums into a clamorous frenzy. The Apocalypse!DEATHLY HUSH.Anderson breaks the silence. “Hi, Read more ...
joe.muggs
This record keeps you guessing. It starts off with “Hybrid Romance”, an ambient piece that’s very pretty but has swooping glassy synths that crack and fracture and could easily be about to break into some super jagged Berlin deconstructed club music at any minute.But less than two minutes later and we’re into “Chlorine”, a song in the modern country-inflected pop style which wouldn’t sound out of place on most daytime radio channels, and you could easily imagine the Californian Ded Hyatt performing as a support act for Taylor Swift or Harry Styles.The thing is, though, “Chlorine” has lots of Read more ...
Tim Cumming
The first K-Music festival landed in London for than a decade ago, and has brought an eclectic range of bands and musicians from Korea to the stages of the capital, whether that’s the sorrowful storytelling tradition of Pansori, the sonic attack of bands like Jambinai or Black String, who return this year to King’s Place on 30 October, with the extraordinary sound of the gayageum – part harp, part oud, part theramin – under the hands of band leader Youn Jeong Heo.This year’s festival opens tonight at the Barbican with Lear from the National Changgeuk Company. Changgeu is a form of Korean Read more ...