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FRONT

EDITOR PRIYA KHANCHANDANI

Deputy editor Matthew Ponsford

Art director Robin Farley

Contributors: Tim Abrahams, Matthew Barker, Alice Bucknell, Ronghui Chen, Sonia Faleiro, Owen Hatherley, John Jervis, Matylda Krzykowski, Joe Lloyd, Max Pinckers, Vera Sachetti, Nate Schulman, Peter Smisek, Jacoba Urist

Content editor Siobhan Morrin

Digital development editor Jenny McFarlane

Digital content executive Gemma Parkes

Editor-in-chief Lisa Allen

ADVERTISING Advertising Sales manager Michael Yap

For advertising enquiries please contact michael.yap@icon-magazine.co.uk MARKETING Senior marketing executive David Robinson

Marketing designer Emma Langschied

PRODUCTION Production operations manager Nicola Merry

Production executive Hannah Fenton Production artworker Milena Bailey

PUBLISHING Publishing director Yvonne Ramsden

Founding publishing director Daren Newton

Divisional director Justin Levett

Managing director Richard Morey

Chief executive officer Lee Newton

Icon is published monthly by Media 10 Limited

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Professional Publishers Association

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Contributors

April 2019

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Monumental stories. steeped in complex history, arrive from Gujarat, Minsk and Montgomery, Alabama. Journalist and novelist Sonia Faleiro (5) watches a giant rise in India, above a society marked by brutal inequality. ‘Given the distress across the country, the expenditure and indeed timing of the statue was obscene,’ she says. Critic Owen Hatherley (4) has been in Belarus, where he observed students unfazed by historic monuments to Lenin and Stalin. Neither angry nor nostalgic for authoritarianism: ‘They clearly found it very funny’ he says. Matylda Krzykowski and Vera Sacchetti (1) met in Switzerland and founded Foreign Legion. They ask ‘what it means to be not only foreign, but also a women.’ Meanwhile, Alice Bucknell (3) goes in search of a worthy use for virtual reality technologies. ‘My vote goes to the radical blockchain Marxists’, she concludes. And John Jervis (2) has visited one front in the war over contemporary British identity: 1950s London. He returned with a chintzy coffee pot decorated by Hugh Casson, architectural director of the 1951 Festival of Britain, who once taught Prince Charles how to paint.

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