With the critically acclaimed ‘Fake It ‘til you Make it’ coming to Warwick Art’s Centre on 17 March, I spoke to the self-proclaimed ‘loudmouth’ Bryony Kimmings about how art can take the form of protest and what it means to be an activist in our constricted world. A woman of...
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1 can of sardines, 2 shirts, 8 sweets, 11 posters, 19 Tour Eiffel postcards and a piece of Mica metal. These were the fruits of my visit to the self-explanatory exhibition Take Me (I’m Yours). Showing at the Monnaie de Paris, it does exactly what it says on your designated...
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Helene Kleih talks to the director of Codpiece's new show Ugly
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Helene Kleih shows us how we can get creative this Spring with the Mead Gallery
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There are two artists in residence this term; Helene Kleih takes a sneak peak
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Helene Kleih visits the IKON gallery's winter exhibition and gives us her verdict
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What inspired you to work in journalism – was it a field that you fell into or were you always interested in writing and reviewing? I always wanted to be a critic, but of course the foolish thing about trying to be a critic is that there are very...
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As part of the National Gallery Masterpiece Tour, the Mead Gallery’s latest exhibition Unreliable Evidence welcomes Edouard Manet’s infamous piece, “The Execution of Maximilian” (1867-8). Depicting the assassination of Emperor Maximillian of Mexico, where he was shot alongside two of his generals Mejia and Miramon, the painting proves to be...
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A spectacle for the eyes and ears -- Helene Kleih reviews Peter Brooks touring theatre piece about the artistic perks as well as the disadvantages of living with synesthesia.
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Helene Kleih reviews Lemn Sissay's 'Refugee Boy' at the Birmingham Repertory Theatre.
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Helene Kleih questions whether Tate Britain's installation of robots, which are controllable from your very own computer, will devalue the experience of seeing art in real life.
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Helene Kleih treads on the ground of Land Art at the Mead Gallery’s current, landmark exhibition Uncommon Ground.
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