‘I must have done something right!’: dance master Jiří Kylián on his festival, fierce critics and the Ministry of Silly Walks

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At 78, the great choreographer is enjoying a career-spanning celebration in Oslo. He reflects on his leap from dance to visual art and why he feels snubbed by Britain A gang of young dancers, their black costumes offset by colourful hats, cascade down the sloping roof of Oslo’s opera house for a jubilant routine to a Prince song by the waterfront. The building’s huge glass facade has become an unlikely stage for sculptures, digitally scanned from dancers’ bodies, positioned as if they are plunging into the building like the nearby bathers in the fjord. Inside, there’s an eclectic bill of ballets including one inspired by a painting from the Edvard Munch museum next door. In the wings of the theatre is an installation drawing on the Buddhist Zen symbol ensō. The studio space is screening short films veering from slapstick to the profound. But this sprawling festival, spanning more than two weeks and then partially touring, has a singular focus. These are all works by Jiří Kylián, the...
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Uncanny Me review – exploration of cloning tech fraught with moral and ethical questions

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Creating a 3D avatar to increase a model’s income brings up all sorts of issues, but this documentary seems uninterested in addressing them

Doubles, doppelgangers, clones; twin visions have long fascinated directors and audiences alike. It’s unnerving, however, when technologies that once belonged to the realm of science fiction are now realised in the present. A German model called Lale is interested in creating a 3D clone of herself and this documentary from Katharina Pethke taps into a new unsettling reality.

The rationale behind the project sounds promising on the surface. As the company that offers the body scanning service to Lale explains, a 3D clone can take on a larger number of campaigns, without the hassle of paying an in-person crew, thus increasing Lale’s income. What is striking, however, is that the firm’s examples of 3D avatars are all of non-white models.With the recent push for more inclusivity in the fashion and modelling industry, could this be an easy way for brands to claim diversity without expanding their talent pool?

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