Anna Barriball

New Drawings

★★☆☆☆

On until 14 March 2024

Barriball is known for repetitive marks which caress surfaces before defeating them with pigment. Now, new drawings of windows – blue, orange, and yellow rectangles of faintly broken-up colour – try to capture shadows cast by the sun on the floor in her studio. They’re visible only against a layer of dust which temporarily settled between gusts of wind. 

But they only feign such fragility. On unsolicited inspection, these blocks turn into dull sheets of waxed paper and not the light-loving cyanotypes or Polaroids to which they make claims. The blinds are drawn tightly over the frames, leaving no highlights, no shadows, and no sunlight either. 

Vague references in the gallery’s text to the artist’s comfortable pandemic isolation fail to illuminate this confusion. The eyes may be the windows of the soul. To make an aphorism of the reverse needs more than shadow-play.


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

Paulina Olowska at Pace ★★★★☆

Paulina Olowska

Squelchy Garden Mules and Mamunas

★★★★☆

It should be within the resources of Pace and Olowska’s experience to advance her legend beyond the discretely marketable.

Peter Fischli and David Weiss at Sprüth Magers ★★★★☆

Peter Fischli and David Weiss

★★★★☆

A police procedural turns into a drinking game of Foucauldian power analysis.

James Welling and Bernd & Hilla Becher at Maureen Paley ★★★☆☆

James Welling and Bernd & Hilla Becher

★★★☆☆

Welling’s veneration of brutalist concrete borders on fetish.

Xie Nanxing, Hello, Portrait! at Thomas Dane ★★★★☆

Xie Nanxing

Hello, Portrait!

★★★★☆

Looking at Xie’s portraits is a little like wearing a virtual reality headset over only one eye.

Material Rites at Gathering ★★★☆☆

Fritsch, Genzken, Oldenburg, Shani, Sherman, Smithson, Thek

Material Rites

★★★☆☆

The instincts are right, but too much makes sense to make sense together.

Marina Abramović, 7 Deaths of Maria Callas ★☆☆☆☆

Marina Abramović

7 Deaths of Maria Callas

★☆☆☆☆

Abramović wants to destroy all performance and all women until she holds the monopoly over stage death.

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