Igor Toronyi-Lalic is arts editor of The Spectator
Tufted carpets out, flavoured milk in. Canvas shoes in, take away coffee out. Last year we accepted spreadable butter, dropped round lettuce. In 2006 we let in the chicken kiev and waved goodbye to the baseball cap. Call me a foolish commodity fetishist but I love the Consumer Prices Index (CPI). I could happily curl up in
FILM: Under the Skin (dir. Jonathan Glazer) Critics who saw it at the Venice Film Festival thought it either ‘laughably bad’ or a ‘masterpiece’. This week you get the chance to decide whether Jonathan Glazer’s Under the Skin, in which Scarlett Johansson plays a kind of alien butcher on the hunt for human meat to
There were two possibilities for the 86th Academy Awards, joked host Ellen DeGeneres, either ‘12 Years a Slave wins the best picture Oscar … [or] you’re all racists.’ Luckily for the hall, things went the right way. Handwringing trumped artistic merit, 12 Years a Slave nabbing the top gong of best picture. The most cinematically thrilling movie,
One of the greats of French cinema, Alain Resnais (1922 – 2014), has died. His early films, Hiroshima Mon Amour (1959) and Last Year in Marienbad (1961), which experimented boldly with visuals and narrative, were the key inspiration for the French New Wave, dictating the direction Godard and Truffaut headed in. But where some saw
With a grim global tit-for-tat looking increasingly likely, Crimean secession is no laughing matter. Still, we here at Culture House have slightly different priorities to the people of Ukraine. Slaves to line, form and colour, we have our thoughts locked onto the thrilling prospect of gaining a splendid new flag (see above). Here are some
The Oscars dispenses its wisdom tonight. By tradition the award for the past year’s best film won’t go to the past year’s best film. This means 12 Years a Slave will probably win. Here’s a quick recap of the movies in contention and what our film critic Deborah Ross thought of them. Wolf of Wall
Boy, the crap that opera’s allowed to get away with. The mime, the mugging, the movement, the ideas. Richard Jones’s new production of Rodelinda at the English National Opera seemed to be channelling that heady mix of bullshit and banality that that signer had nailed so well at the Mandela funeral. Theatre wouldn’t have got away with
Tell me: does this passage from American director Spike Lee’s recent rant against the gentrification of Brooklyn not sound like a press release from UKIP? ‘I’m for democracy and letting everybody live but you gotta have some respect. You can’t just come in when people have a culture that’s been laid down for generations and
Some people have been pointing their cameras at the night sky. The results are rather special:
That’s right. The evil scumbags who work in the City appear to be doing a better job at being modern and liberal than the state-subsidised art world. According to last year’s Creative Skillset Employment Census, 5.4 per cent of those working in the arts were from the black or ethnic minorities. In the City, by contrast, figures
You know how it is. You’re finishing off Friday prayers, wondering what to do with your evening. You notice some women in a cattle truck and decide to engage in a spot of ritual humiliation, bunging the women into burkas and forcing them to distribute petals in front of your feet. Critiques of Islam don’t
Age has never been an impediment to great musicianship. YouTube is full of extraordinary late musical testaments from pianists who, refusing to retire, hit their stride in their eighth, ninth and, in Alice Herz-Sommer‘s unique case, tenth decades. Here is a selection of the finest: 1. Mieczysław Horszowski gave his first recital at the age of
The 110-year-old pianist and oldest known Holocaust survivor, Alice Herz-Sommer, who was imprisoned in Theresienstadt concentration camp, has died. Her extraordinary life, which included childhood encounters with Gustav Mahler and Franz Kafka, latterly became the subject of several documentaries, the most recent of which, The Lady in Number Six, was this year nominated for an
For a committed, if unsuccessful, capitalist, I enjoy French culture an embarrassing amount – every last state-funded drop of it. Give me five-act operas with cast lists the size of a small Chinese city, give me obscenely expensive works of public art, give me inhumane concrete estates, give me unintelligible modernist music and I’ll be
I can see one now. (They’re hard to miss.) Face the colour of mayonnaise, Gameboy dangling from one ear, gerbils for shoes, an alpaca for a hat, glasses the size of a window frame. It’s what we call in the profession an arse. Don’t mock him. Hold that snigger. He may be an arse, but
From today, The Spectator’s gift for online enlightenment and trouble-making will now extend into the world of culture. Our aim is take the insurgent spirit of Toby Young’s Modern Review, and apply it to the digital world — that is, to provide low culture for highbrows, and high culture for lowbrows Culture House Daily will be
Art is under attack. Another week, another expensive poke in the eye. Last Sunday, Miami artist Maximo Caminero destroyed a $1 million vase by Ai Weiwei in protest at the museum ignoring the work of local artists. Before this, there was Wlodzimierz Umaniec’s defacement of a Tate Modern Mark Rothko in the cause of ‘Yellowism’,
Film critic Armond White has been booted out of the New York Film Critics Circle. Officially it was for heckling Twelve Years A Slave director Steve McQueen at a press conference. But they can’t have liked him telling the truth about the movie. Namely, that it’s crap. We should listen to hecklers. Especially when they’re
The 20th century was a century of musical revolutions. One of the last and most audacious ignited 50 years ago on the east and west coasts of America. And in a small but significant way The Spectator played a part in fanning the flames. In 1968 a young critic and early-music specialist by the name
How will the arts world plug the funding gap? Igor Toronyi-Lalic investigates It’s an idea so simple in concept, so elegant in execution, so bursting with potential, that you kick yourself for not thinking of it yourself. ‘You put your project here,’ explains 28-year-old solicitor and budding internet entrepreneur Michael Troughton, scrolling down the front
