Photographed over a period of five years, Stefan Ruiz’s book of portraits, People, is an eclectic body of work, covering politics, celebrities and a collection of images of his family. Linking the photographs is Ruiz’s raw, pared-back style and his affection for the intense and the fragile
If you feel like engaging in a little culture this weekend, take a trip to see Swiss artist Christoph Büchel’s epic, sprawling exhibition at Hauser & Wirth gallery’s East End branch, Coppermill. Situated just off Brick Lane, Büchel has merged the gallery seamlessly with its surroundings, turning the entire space into a down-at-heel hotel/cheap electronics shop, complete with a tacky sign and shop front on the outside of the gallery.
Moving inside, the illusion continues as a staircase leads into the hotel itself, a rabbit warren of rooms that are disturbingly stuffed with beds, including narrow mattresses in the kitchen and bathroom. The attention to detail is obsessive, with drawers, desks and beds littered with personal possessions while half-eaten food and overflowing ashtrays suggest a very quick getaway by any inhabitants.
It is impossible to tell the story of late twentieth century Britain without reference to The Sun. For right or wrong, the tabloid newspaper is central to the narrative of a country that, in the 1980s particularly, was more divided than at any time before or since. On its pages – and most especially on its front pages – The Sun embodied the dominant political and social spirit of the times. Seldom can graphic design have been used to such dramatic effect.
Nelson Mandela is facing another liberation struggle – this time to free himself from the myriad attempts to proﬁt from his image. As Sean O’Toole explains, this Disney-ﬁcation of Mandela is in danger of cheapening the great man’s legacy and Mandela has had enough