More luvvies are upset

Especially A Kapoor,whose latest work is displayed in teh Guradinia as depicting 'Britain on the abyss'. Looks rather like a giant vulva running through middle England to me, but hey

Gushes J Jones, Gdriuna art critic and 'on the jury for the 2009 Turner prize'.

Anish Kapoor has exposed a bottomless void at the heart of Britain. You could topple in there and never stop falling. In fact, that is exactly what we have done – and solid ground still seems to be nowhere in sight....This artwork, which Kapoor has created for the Guardian, is his response to our current predicament and the new Britain that appeared after the leave vote. Although the Mumbai-born artist has given it a title – A Brexit, A Broxit, We All Fall Down – he does not wish to make any further comment about the piece, preferring to let it speak for itself.

Back on his actual territory, JOnes writes:

[Kapoor uses] colour to suggest infinite voids...[one spectator] actually fell into one work, a black hole in the floor of the gallery.

Then back to parrotting the usual line:

This wound, however, is anything but shallow. Britain has inflicted a dreadful injury on itself: a gory rip stretching from Glasgow to the south coast. Our fellow Europeans are watching aghast from across the water as we near the abyss of a no-deal Brexit.... Kapoor has been a consistent and vocal opponent of Brexit since the 2016 referendum. He recently characterised our political paralysis as a descent into strange mental territory. “We’ve allowed ourselves as a nation to enter a space of unknowing,” he told the i newspaper. “I can’t help but see it in terms of a depressive self.” He compared it to “self-harm”....This is a surrealist work, [far too crude for that]  one that seeks to let the unconscious out. But instead of his own demons, Kapoor lets out the shadows in the nation’s psyche: yours, mine and Jacob Rees-Mogg’s. For, like a black hole of melancholy, something about this bottomless pit is alluring. Part of you wants to fall in...So this work goes well beyond simple sloganising. It is not another protest. It is an attempt to psychoanalyse the British...Kapoor has captured our morbid obsession with the futile chasm of Brexit, the perverse character of a nation that wants, in some sad corner of itself, to be back in the trenches. A bigger trench this time, where meaning ends and reality dissolves.

Jones also brought us, recently:  

What do Andrew Marr’s paintings tell us about his views on Brexit?

So Brexit symbols have danced into his pictures. Gold stars on blue in one of them look to me like a sign that his heart lies in Europe. The more you look at this painting, the more unequivocally it celebrates European civilisation....There is nothing subtle about this. It is a painted love letter to the EU and to the greatness of European art. Look longer still and it’s clear he is heartbroken...The joy is undercut by pain. Brexit is a tragedy. Marr shows all this as a painting within a painting, with his own spattered palettes in the foreground. He is mourning Europe by painting it – thinking of Matisse, and war, and the Fall of Icarus....Sigmund Freud claimed creativity is a sublimation of repressed thoughts [it is really all so easy...]. He was talking about sex, but what about political views? Marr has turned his position [apparently forced to remain neutral, as a journalist] to his advantage. Forbidden to declare his view of a topic that dominates his work life, those pent up feelings intensify his art....Not all his new paintings are tempestuous meditations on the Europe we’re losing. A lot depict the River Gruinard in Wester Ross, a favourite haunt far from the madding news cycle [so it still all fits -- these depict retreat from the sad news]  

And what about the chosen illustration above -- a stranded whale or partially collapsed balloon or giant black lips with some kids' windmills stuck into the river bank? Obviously it is a sign that he worries about the environment and the effects of plastic toys on sea mammals,andhopes that wind power will prevail. Or he is referring to the myth of our 'glorious' past when barrage balloons and a few fighters saved the Empire from German bombs: it is surely no accident that the aircraft propellors are painted different colours to symbolise the many nations that fought for us in the RAF.Or perhaps it is depicting the ways in which black voices are drowned and overwhelmed in a sea of trivia?