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Visual Arts Review: “Displaced: Raida Adon’s Strangeness” — The Remains of Home

April 4, 2022
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Raida Adon rejects political categories because they fail to capture the utter strangeness of lived experience.

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Album Review: Club d’elf’s “You Never Know” — Spontaneous Magic

April 4, 2022
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This is the quintessential Club d’elf album, smartly arranged and surprisingly accessible without losing any of the group’s improvisational edges or exotic breadth.

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Dance Review: “The Just and the Blind” — Shackled, Humiliated, Scared

April 3, 2022
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The Just and the Blind sends a needed and powerful message — it is 2022, we need to wake up!

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Film Review: “You Won’t Be Alone” — Witchcraft, Forever

April 3, 2022
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This is no run-of-the-mill supernatural witch movie.

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Coming Attractions: April 3 Through 18 — What Will Light Your Fire

April 3, 2022
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As the age of Covid-19 finally wanes, Arts Fuse critics supply a guide to film, dance, visual art, theater, author readings, and music. Please check with venues when uncertain whether the event is available by streaming or is in person. More offerings will be added as they come in.

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Film Review: “Gagarine” — Everything Is Falling But the Sky

April 3, 2022
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If you’ve never seen a French film with a PG feel, the well-meaning Gagarine might be the one for you.

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Film Reviews: A Not-So Short Dispatch on Short Films at the Boston Underground Film Festival

April 3, 2022
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I’m happy to report that the local scene has lost none of its eccentricity thanks to a deluge of talented filmmakers and animators with a taste for the offbeat. Stay weird Boston!

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April Short Fuses – Materia Critica

April 2, 2022
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Each month, our arts critics — music, book, theater, dance, and visual arts — fire off a few brief reviews.

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Visual Arts Commentary: Banksy Didn’t Authorize This

April 1, 2022
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When you go to the Art of Banksy website it is immediately clear that Banksy himself had nothing to do with this traveling show.

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Book Review: On Our Love Affair With Catastrophe — So Long as it is Happening to Someone Else

April 1, 2022
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David Thomson’s meditation on our love of disasters is engagingly allusive, reflective, humane, wide-ranging, and often funny.

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