FRANCESCO D’ALESSIO reflects on the burial crisis and identity loss in the contemporary city. Cemeteries and graveyards resemble cities and villages. Graves are like buildings..
MARIA PERSU contemplates her discovery of Nordic environmentalist art. I arrived in Helsinki on Midsummer Night, a celebration where Finns light up huge bonfires and..
ASIA CHOUDHRY reviews Olafur Eliasson’s In Real Life at the Tate Modern. Scrolling through Instagram one day during summer, I stumbled upon pictures of my..
ISABELLE OSBORNE reviews A Clockwork Orange at Bloomsbury Theatre. Performed by the UCL Drama Society in collaboration with Film Society, A Clockwork Orange captures the..
FARIDA EL KAFRAWY reviews Philippa Ndisi-Herrmann’s 2018 documentary, New Moon, chronicling her conversion to Islam. What begins as an audiovisual journey, charting the changing landscape and cultural..
SELMA REZGUI reviews multimedia performance Chyna at VAULT festival 2020. Anyone who is or has ever been a teenage girl will recognise Chyna’s preoccupations. The eponymous..
ANNABELLE BRAND explores Robert Eggers’ maritime horror, The Lighthouse, through an examination of the texts which influenced it. ‘A thousand thousand slimy things lived on—and so did..
RONI MEVROACH reviews I Could Go on Singing at the Southbank Centre. This performance doesn’t leave you certain about many things, but one thing is..
ELLIE LACHS reviews Faithful Creatures at Camden People’s Theatre. Isobel Macleod’s Faithful Creatures, directed by Evie Robinson, is a revelation. It bravely strides away from..
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