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Kevin Brazil
Kevin Brazil is a writer and critic who lives in London. His writing has appeared in Granta, The White Review, the London Review of Books, the Times Literary Supplement, Art Review, art-agenda, Studio International, and elsewhere. He is writing a book about queer happiness.

Articles Available Online


Alvaro Barrington, Garvey: Sex Love Nurturing Famalay

Art Review

October 2019

Kevin Brazil

Art Review

October 2019

The unofficial anthem of this year’s London Carnival was ‘Famalay’, a bouyon-influenced soca song that won the Road March in Trinidad & Tobago’s Carnival...

Essay

October 2018

The Uses of Queer Art

Kevin Brazil

Essay

October 2018

In June 2018 a crowd assembled in Tate Britain to ask: ‘What does a queer museum look like?’ Surrounded...

Amidst the drills and concrete, white walls and big names of London’s Cork Street stands a new gallery, Nahmad Projects, hosting a few performers who crawl the floor, softly pawing their faces, on all-fours Dressed in comfortable basics, they’re determinedly imagining that they’re cats And that day, they were cats for six straight hours: emulating cat mannerisms, ignoring visitors, being aloof   I Am A Cat, the title of the piece, is the creation of Finnish artist Tuuli Malla, one of 30 performance pieces over 30 days that herald the opening of Nahmad Gallery, collectively titled ‘I Am Not Tino Sehgal’ It’s a brave move for a commercial gallery founded by two under-30s, Tommaso Calabro, formerly a project coordinator at Sotheby’s in Milan and London, and Joseph Nahmad, younger brother of London-based gallerist and collector Helly   Throughout the month-long exhibition – which, it should be noted, has no official affiliation with Tino Sehgal – there’s little that would be familiar to the old guard on Cork Street, which has for decades played host to the more exclusive of London’s contemporary art galleries in the West End When there aren’t cats, there is a performer scrawling the name ‘Tino Sehgal’ in various animal shapes into notebooks on the floor (Damiano Fina’s But I have him), an artist playing at gallery invigilator, sitting silent and unmoving, reading Ulysses next to a walkie talkie (Beth Fox’s This Work)   For Italian/French art collective VOO’s piece, Coined Situation, the artists placed a single performer in the centre of the room, surrounded by 1p pieces It’s a large mountain of tarnished bronze, but seems diminished when we learn that it amounts to £1,000 – the sum the collective receives for participating in the show The performer sits alone, moving the coins around, piling them into towers I ask what I’m supposed to do and little yellow cards are proffered, reading ‘1 MOVE for 1 COIN’ Eloise Lawson set the rules rather more clearly for her piece, What Is The Meaning of this Gathering? All participants were blindfolded and guided into a closed-off gallery space, where they joined other participants and the

Contributor

July 2018

Kevin Brazil

Contributor

July 2018

Kevin Brazil is a writer and critic who lives in London. His writing has appeared in Granta, The White Review, the London...

Nora Ikstena's ‘Soviet Milk’

Book Review

August 2018

Kevin Brazil

Book Review

August 2018

Soviet Milk by Nora Ikstena opens with two women who cannot remember. ‘I don’t remember 15 October 1969,’ says the first. ‘I don’t remember...

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poetry

May 2016

Two Poems

Sam Buchan-Watts

poetry

May 2016

The Dentist’s Chair       I dreamt of the dentist’s chair, that it wore a smart pair of...

feature

February 2011

Novelty and revolt: why there is no such thing as a Twitter revolution

Nadia Khomami

feature

February 2011

The world is seeing an increase in the use of social media as a tool for mobilisation and protest....

feature

Issue No. 12

Foreword: A Pound of Flesh

George Szirtes

feature

Issue No. 12

1.   ANALOGIES FOR TRANSLATION ARE MANY, most of them assuming a definable something on one side of the...

 

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