We’ve got the latest reviews from The Arts Desk, covering a range of different genres from a variety of the visual and performing arts including art, music and dance.
The Arts Desk’s Fisun Gner reviewed the controversial Japanese artist, Yayoi Kusuma’s, latest contribution to the world of visual arts in her perplexing yet engaging exhibition at the Tate Modern. Her final product reveals the 82-year-olds complex state of mind giving you a glimpse into the inner workings of her artistic thought process, or lack thereof. From a wide range of pieces from watercolours and oil paintings to a completely mirrored room with LED lighting, it’s not hard to believe that the artist committed herself into a psychiatric ward from 35 years.
This week, there’s a wide range of new music to check out including Valentine’s Day video tributes from Peter Culshaw to a round-up of new CD reviews from funky jazz beats such as Gregory Porter’s new album, to the upbeat tracks from Porcelain Raft. Meanwhile, Joe Muggs gives us the Grammy update of this year’s incredibly predictable winners from Adele and Bon Iver to the Foo Fighters, with the only surprise being the electro techno mix in the form of Skrillez.
The French duo Justice performed at Brixton Academy and Joe Muggs attended their musically eclectic show. Despite delivering a range of house and disco genres, Muggs was disappointed with the obvious lack of enthusiasm palpable amongst the men behind the equipment. Yet he pointed out that the crowd, which were mostly rather indie-rock oriented, seemed to have a good time.
And finally in dance, Ismene Brown went to Sadler’s Wells to see The Rodin Project, the latest offering from contemporary dance troupe The Russell Maliphant Company. Though undeniably stunning in its visual homage to sculptor August Rodin, the show seemed, however, to be only half-baked in its ideas. Choreographer Maliphant incorporated hints of bold ideas and the suggestion of risk-taking, and elements of contemporary streetdance, but seemed always to be holding back. The piece, according to Brown, did not have quite the finesse, poignancy or gravitas of his previous work ‘AfterLight’ or of some of his successful collaborations. And as such, it seemed less like one artist informing and enlightening another, and more like a fan simply admiring his idol.