Amanda Wall



On until 22 December 2023

In Wall’s femcel portraits, despair is sexy. Larger than life and rendered in Insta colours that could have been the choice of an image AI, her women perch at the bed’s end, squat by the wardrobe, and rest at the kitchen table. They’re bent out of proportion, showing off their skinny asses to the collector’s delight. Their boob tubes are tight, their shorts short. They play tired, scared, and helpless, just like you like them. They pulled these faces for you before. You will come back for more again.

The self-taught and presumably terminally online Wall may have experienced the faux emancipation of an e-girl first-hand. But her paintings are too brash and denatured to win in the battle over the 21st-century female body. Maybe sex work is the only work left in a world with no sex and universal online income. But there’s no dignity in paint when the arc of art history tends to “show hole”.

notes and notices are short and curt exhibition reviews. Read more:

Vlatka Horvat, The Croatian Pavilion in Venice ★★☆☆☆

Vlatka Horvat

By the Means at Hand


This closed circulation project speaks to and agrees with only itself.

Michaël Borremans, The Monkey at David Zwirner ★★★★★

Michaël Borremans

The Monkey


Borremans toys with his subjects, his audience, and with art history.

Auudi Dorsey at PM/AM ★★★★☆

Auudi Dorsey


Dorsey records the human experience with the true universalism of paint.

Lutz Bacher, AYE! at Raven Row ★★★★☆

Lutz Bacher



There’s joy in repetition. There’s joy in repetition. There’s joy in repetition. There’s joy in repetition. There’s joy in repetition. There’s joy in repetition.

Karrabing Film Collective, Night Fishing with Ancestors at Goldsmiths CCA ★☆☆☆☆

Karrabing Film Collective

Night Fishing with Ancestors


Little separates this display from a human zoo complete with curators who occasionally kettle-prod the once noble savage into a spectacular rage.

Gray Wielebinski, The Red Sun is High, the Blue Low at ICA ★☆☆☆☆

Gray Wielebinski

The Red Sun is High, the Blue Low


I knew that it was possible to understand art and life less after seeing an exhibition. I didn’t, however, imagine that experiencing Wielebinski’s work twice would only compound such damage.