Fan Letter

Showing results 1-20 of 39

‘I was 13, with a group of friends, and it was my first time hearing anything so Black and British – and, also, so working class’

BY Kadish Morris |

‘I have always chosen to listen to my heart and stick to my convictions, rather than yielding to reality’

BY Zeng Fanzhi |

‘When I read that essay, I literally feel some kind of space opening up: I can breathe’

BY Beatrice Gibson |

‘A brilliantly analytical account of how the increasing prominence of English has gradually pushed other languages to a minor role’

BY Vincenzo Latronico |

‘I would like to dedicate this tribute to all of Zidane’s fans (of whom I am one)’

BY Violaine Boutet de Monvel |

‘The last time I felt maenadically enthusiastic was during this year’s Pride, marching down the streets of Milan under a scorching sun’

BY Barbara Casavecchia |

‘Enthusiasm leaks out from the possibility of how these things might all be together’

BY Adam Chodzko |

‘This performance, exquisite as always, is at once emotional and precise’

BY Sarah McCrory |

‘I held (and hold) his ideas and ethics like a compass’

BY Lauren Cornell |

‘It reminds me of my formative years and a time of many firsts’

BY Renee So |

‘He created rhythmic patterns that sounded, in your mind or on his voice, both adamantine and feline at once’

BY Cal Revely-Calder |

‘Majerus was driven by mass – calm and heavy like a smooth car – six cylinder bicycle with no flat tyre’

BY Thomas Bayrle |

‘No other type of cinema in recent decades has worshipped reality in this intense manner’

 

BY Mark Cousins |

‘It has created a space of inclusion in a patriarchal art scene in which the visibility of female practitioners was minimal’

BY Bisi Silva |

‘Even with the softest breeze, it comes alive and gently plays with the world around’

BY Kulapat Yantrasast |

‘Inside the cemetery, hundreds of names descend in chronological order, but time’s forward motion clearly does not signify progress here’

BY Jennifer Kabat |

‘The way she stumbled on stage, with her smeared lips and perfect legs, appeared at once criminally affected and wildly persuasive’

BY Michelle Orange |

‘I stayed first for an hour, then whole afternoons and, eventually, days’

BY Jonathan P. Watts |

Who’s Afraid of Barney Newman (1968) invokes a multiplicity of diasporic readings’

BY Rianna Jade Parker |

‘It’s all there: charm, humour, ethics, friendship’

BY Tom Jeffreys |