Prostitutes, Politicians, Profiteers is the first UK exhibition of George Grosz – savage lampooner of Weimar Berlin’s monstrous excess – since 1997. Lauren Van Schaik Smith went along.
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The abortive Soviet designs on display are monuments to the human capacity to dream outlandishly, writes Lauren Van Schaik Smith.
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Don’t be fooled by the red banners and the iconic agitprop: this exhibition is more of an ossuary for failed utopias than a May Day parade.
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Lauren Van Schaik Smith assesses the first UK exhibition dedicated to Bau, the iconic magazine first published by the Central Association of Austrian Architects in 1965.
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It is not the radical eroticism that makes Egon Schiele’s nudes so unnerving. It is the unsettling insertion of mortality into what is supposed to be hedonism.
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The Tristan Bates Theatre double-bills a new play – Catriona Kerridge’s Shoot, I Didn’t Mean That – with the epilogue from Karl Kraus’s titanic Great War satire, The Last Days ...
After the intervention of the Isherwood estate, The Space’s adaptation of Christopher and His Kind was renamed Berlin. An apt name change, says Lauren Van Schaik Smith, as it’s Weimar ...
While Sam Mendes’ totalitarian King Lear holds gory court at the National Theatre, a fledgling new writing night by SALT Theatre offers an irreverent spin on Shakespeare’s grimmest tragedy. Lauren ...
Tennessee Williams’s own wanderings ended in the plush Sunset Suite of the Hotel Elysée, but they’d started in flophouses and boarding rooms like this. Lauren Van Schaik Smith reviews two ...
Soon, Litro will publish its much-anticipated Family issue. Lauren Van Schaik Smith, attending the photographic exhibition Family Politics at Bankside’s Jerwood Space, observed how even that most familiar topic could ...
The National Gallery’s Facing the Modern: The Portrait in Vienna 1900 lures punters in with the promise of an amber-bound time of waltzes, neuroses and Art Nouveau. Visitors will surely ...
