‘As an artist, I’m an observer. My role is to alert and call to attention, not write policy. My sensibility is such that I experience the world intensely and recreate it in a visual form. But to try and answer this impossible question, one of such complexity, rooted in history and human avarice, a plan of correction would take time, which we don’t have, and a concerted effort, which we don’t have.’
Charlotte Hopkins Hall on her forthcoming show at Gallery 46.
‘“It’s your birthday tomorrow,” said my mother. “Did you know the Jesuits say ‘Give me a child before the age of seven and he’ll be mine forever?’” “Who are the Jesuits?” “Priests.” “Oh.” She tousled my hair. “Thank god you’ve met none.”’
New fiction by Jago Rackham.
‘A lot of horror films trade in Christian symbols and ideas – demons, upside down crucifixes and so on. Jewish folklore is just as stuffed with goblins and witches and ghosts – all manner of fun things to play around with. So why shouldn’t they play a part in my modern Jewish novel?’
Toby Lloyd on his debut novel, Fervour.
‘Of justices, karma is the most poetic— / a magistrate who makes us wear / our wrongs: albatrosses, ugly charms.’
New poetry by Jane Zwart.
‘Both contemporary pieces seek to build on this revolutionary choreography rather than imitate it perfectly, yet both acknowledge that Nijinska’s work marked key developments in the world of choreography, bridging the gap between one century and the next in the world of classical dance. So how did it come to pass that now she is known primarily as a keeper of her brother’s career?’
Esmee Wright on Bronislava Nijinska.
‘I mean something closer to: am I a good person? Am I sincere and devout to those things in my life that I ought to be?’
New fiction by Benjamin George Coles.
‘I feed the birds / before I feed myself.’
New poetry by Luciana Francis.
‘The few days turned to weeks and years and it was a decade before we spoke about the future, a conversation focused on the past.’
New fiction by Gary Finnegan.
‘Dad drinks a pint of Newcastle Brown
feet sticking to the floor,
the room thick with fag smoke.
Dad 70’s cool, beard & sideburns & swagger.’
New poetry by Rachel Burns.
‘You grow up in poverty. You are told you are lucky, and that luck is why you are the only child in the family who gets an education. You have a natural sense for numbers, and feel that luck is a question of numbers. It is a question of the number of years separating you and your siblings from the source of luck.’
New fiction by Lilia Salammbô Fetini.
‘everything is muddled, everything is metaphor.’
New poetry by Tim Relf.
Currently showing at the Southbank Centre’s When Forms Come Alive exhibition, we spoke to Eva Fàbregas about her sculptural installations, form, and desire.
‘They passed away into the long eclipse,
Like voices on the wandering breezes blown
Now here – now gone – but whither, all unknown.’
Poetry from A. E. Housman.
Currently showing at Gallery 46, we spoke to David Tucker about his fearless paintings and sculptures.
‘I’d heard about the surgery even before Cathy reminded me of it. They’d discussed it on the radio one morning, and I’d half listened as I was making coffee, but it seemed experimental – outlandish, even – and I assumed the idea would flicker, smoke, and then go out, like the time they talked about finding volunteers to go to space forever.’
New fiction by Sarah Turner.
‘As a victim of the AIDS pandemic, Mapplethorpe established a foundation in his own name to preserve his legacy of works which continue to incite mixed sentiments in audiences and confront the boundaries of sexual politics and art.’
Adelaide Ng reviews Robert Mapplethorpe: SUBJECT OBJECT IMAGE.
‘Unmoored by her childhood as an orphan, Chanel was extraordinarily bold, possessing a tenacity and creativity that surpassed the bounds of fashion at the time.’
Adelaide Ng reviews Gabrielle Chanel: Fashion Manifesto at the V&A.
‘Whilst approaching the prosaic in terms of length and division, Warmelo’s disregard for grammatical conventions pays homage to, yet disrupts and furthers a poetic legacy.’
Katrina Nzegwu reviews Aea Varfis-van Warmelo’s Intellectual Property.
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