Green unpleasant land? As the UK braces for election week, it might be time to abandon the myth of Englishness

By Adam Harper

This year, all the shortlisted artists were named joint winners – what to make of this act of (institutionally approved) subversion?

By Tom Morton

Wolfson believes art has no relationship to ethics; after a decade of shock, it’s hard to take him seriously

By Diana Hamilton

In the 2010s, nearly every blockbuster film has been a visual-effects-driven fantasy spectacle owned and distributed by a single corporation

By Gerry Canavan

The 2013 album is a compelling record of our collective fracturing 

By Andrew Durbin

From Gen-Z Yellow to Neomint, the confluence of money and the attention economy filled the 2010s with clashes of unexpected hues

By Kassia St Clair

Have the feminist politics of maximalist pattern and craft now been co-opted by neoliberals?

By Eloise Hendy

The Asian-American designers embrace alienation as an integral aspect of identity

By Simon Wu

Berlin’s Altes Museum and the Kunstvereins in the Rhineland look at the fabrication of male identity and power 

By Hanno Hauenstein

To expect the progressive, internationalist art world to participate in a celebration of Brexit is to fire a volley into the culture war

By Tom Morton

Matt Wolf’s new film, ‘Recorder: The Marion Stokes Project’, is an astonishing portrait of an almost incomprehensible endeavour

By Dan Fox

Few other labels could claim to have cultivated such a coherent philosophy over the years: one which unites the pleasure of partying with its darker side

By Jamie Mackay