Fisun Güner
Bio
Fisun is an art critic and writer and is the visual arts editor of theartsdesk. Her art writing has appeared in a range of publications, including The Spectator's Culture House blog, The Independent, Metro, The Evening Standard, New Statesman and Standpoint. You can follow her on Twitter @FisunGuner
Articles By Fisun Güner
latest in today
Glastonbury Festival 2022: an unexpurgated odyssey around th...
Last days of June 2022, I sit in my writing hut. My liver is radioactive jelly, my nose reinforced concrete, my leg muscles marathon-cramped, and...
Man vs Bee, Netflix review - or should it be Bee vs Bean?
Rowan Atkinson’s strange little comedy (written by Will Davies) is the story of Trevor Bingley, a rather pitiable late-middle-aged man who finds a...
Così fan tutte, Royal Opera review - vibrant youth and vocal...
Irish soprano Jennifer Davis, a stunning Elsa in this Royal Opera season's revival of Wagner’s Lohengrin, was the lure to sit through Jan...
Album: Gwenno - Tresor
“The historic, the prehistoric, the natural, architectural, geological, ornithological, or on the side of its folklore, Christian or heathen – the...
The Fellowship, Hampstead Theatre review - strong clashes, t...
I live in Brixton, south London. A few days ago, the borough’s aptly named Windrush Square hosted events which celebrated the contribution of the...
Moon, 66 Questions review - captivating daughter-father dram...
It takes some confidence for a first-time feature director to interrupt her essentially realistic...
Stanislav Aseyev: In Isolation - Dispatches from Occupied Do...
Stanislav Aseyev is a Ukrainian writer who came in from the...
We (Nous) review - a low-key look at life in the suburbs of...
Director Alice Diop read an article by Pierre Bergounioux in which he described how he began writing to draw attention to his overlooked neck of...
theartsdesk in Zurich - forging a brilliant new Ring
Could this be the summer Bayreuth finally sees a new Ring production that comes anywhere near its last great epic success, Harry Kupfer’s, which...
theartsdesk Q&A: bass-baritone Christopher Purves on com...
He’s the most haunting, at times terrifying Wozzeck I’ve seen, in Richard Jones's Welsh National Opera baked-bean-factory production, and the...