Hannah Hutchings-Georgiou

Articles By Hannah Hutchings-Georgiou

Dineo Seshee Raisibe Bopape: (ka) pheko ye / the dream to come, Kiasma, Helsinki review - psychic archaeology Monday, 08 January 2024 Read more...	'The people behind the postcards': an interview with Priya Hein, author of 'Riambel' Tuesday, 03 October 2023 Read more...
Beatriz Milhazes: Maresias, Turner Contemporary review - the taste and sight of Brazil Thursday, 03 August 2023 Read more...	Matter as Actor, Lisson Gallery review - living in a material world Friday, 09 June 2023 Read more...
Seraphina Madsen: Aurora review - the tarot won’t save us Tuesday, 28 March 2023 Read more...	Wilhelmina Barns-Graham: Paths to Abstraction, Hatton Gallery, Newcastle review - secret worlds revealed Saturday, 25 March 2023 Read more...
Sonia Boyce: Feeling Her Way, Turner Contemporary review - a feedback loop of musical union Saturday, 18 February 2023 Read more...	10 Questions for writer and translator Saskia Vogel Wednesday, 21 December 2022 Read more...
Savala Nolan: Don't Let It Get You Down review - finding voice in the liminal Thursday, 29 September 2022 Read more...	Amalie Smith: Thread Ripper review - the tangled web we weave Wednesday, 03 August 2022 Read more...
10 Questions for art historian and fiction writer Chloë Ashby Saturday, 11 June 2022 Read more...	Joanna Walsh: Girl Online - A User Manual review - how 'beatifoul' it is to be online Wednesday, 11 May 2022 Read more...
Scholastique Mukasonga: The Barefoot Woman review - remembering Rwanda before 1994 Thursday, 14 April 2022 Read more...

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The Midnight Bell, Sadler's Wells review - a first repr...

Rarely has a revival given a firmer thumbs-up for the future of dance-theatre. Yet Matthew Bourne’s latest show, first aired at the tail-end of...

Album: HAIM - I Quit

Haim’s profile just grows and grows. Since their last album, youngest sibling Alana’s starring role in Paul Thomas Anderson’s whimsical Seventies...

Aldeburgh Festival, Weekend 1 review - dance to the music of...

This year’s Aldeburgh Festival – the 76th – takes as its motto a line from Shelley‘s Prometheus Unbound. The poet speaks of despair “...

Bonnie Raitt, Brighton Dome review - a top night with a char...

If you walked into a bar in the US, say in one of the southern states, and Bonnie Raitt and her band were playing, you’d have the best night of...

Hidden Door Festival 2025 review - the transformative Edinbu...

"When I was your age, I worked in a corrugated cardboard factory!" is a phrase my father was fond of telling me as a teenager, presumably in an...

Edward Burra, Tate Britain review - watercolour made mainstr...

It’s unusual to leave an exhibition liking an artist’s work less than when you went in, but...

Joyceana around Bloomsday, Dublin review - flawless adaptati...

It amuses me that Dubliners dress up in Edwardian finery on 16 June. After all, this was the date in 1904 when James Joyce first walked out with...

Stereophonic, Duke of York's Theatre review - rich slic...

The tag “the most Tony-nominated play of all time” may mean less to London theatregoers than it does to New Yorkers, but Stereophonic,...

Ithell Colquhoun, Tate Britain review - revelations of a wei...

Tate Britain is currently offering two exhibitions...