Simon Tyszko’s Suicide Bomber Barbie conflates Western commodification with Palestinian desperation. Religious and capitalist dogmas struggle within Barbie’s idealised form, in an artwork of potent incongruity. It is a work whose political stridency is tempered by a well placed humour.

Tyszko’s work might be described as being in the tradition of the long lost art of agitprop. ‘Capitalism defeats dissent and revolution’ Tyszko says, ‘not through direct confrontation, but through commodification.It sells back at a profit the signs, styles and symbols of revolution.’

By his appropriation of a consumerist icon, the artist creates an emphatic subversion of this process, the artist seeking to help create the conditions of political change.

A recent interview with a nine year old Palestinian girl had her saying she had wanted to be a doctor, but could now no longer study or sleep at night, and now only wanted to be a martyr. Tyszko says of her that ‘she has effectively bought the notion of suicide bombing as a lifestyle choice – it has become aspirational, an off the shelf peer led option.’

Suicide Bomber Barbie draws attention to certain kinds of moral, emotional, and political equivalence, which uncomfortably exist within the nationalistic and political systems that contain them. That these systems are dysfunctional, goes without saying.