Asami Shoji et al.

Gestures of Resistance

★★★★☆

On until 25 November 2023

In this run-of-the-mill commercial group show, the bijou paintings by Asami Shoji are as playful as they are haunting. In one, Cerberus stands at the shore of the Styx dreaming that he, too, could one day be free from his fate but nobody throws him a ball. In another, a reclining nude anxiously waits to meet her fate with a lion but Saint Jerome is nowhere in sight. There’s a scene caught in the wings of the ballet stage that could be the start of a gang rape, a death dance, or a tender embrace. The figures appear as though in x-ray and helplessly foretell their own ends.

The acute sepias, yellows, and greens rendered on gesso and clay surfaces hide ghostly narratives. Following these stories between the works of five other artists makes them even more intriguing. In one panel, a boy reaches out as if to probe Christ’s wounds. On second glance, the allegory is even richer and more confusing. On third, the tale starts over again.


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

Amanda Wall, Femcel at Almine Rech ★★★☆☆

Amanda Wall

Femcel

★★★☆☆

There’s no dignity in paint when the arc of art history tends to “show hole”.

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.

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

Michaël Borremans

The Monkey

★★★★★

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

Iris Touliatou, Outfits at PEER ★★★☆☆

Iris Touliatou

Outfits

★★★☆☆

These gestures remind the gallery that it is a social space. Unfortunately, they also inadvertently point to its sorry end.

Jan Gatewood, Group Relations at Rose Easton ★☆☆☆☆

Jan Gatewood

Group Relations

★☆☆☆☆

Such thin metaphors could only have come from LA.

Sula Bermúdez-Silverman, Bad Luck Rock at Josh Lilley ★★☆☆☆

Sula Bermúdez-Silverman

Bad Luck Rock

★★☆☆☆

This is a poor man’s version of history or a philistine collector’s absolution.

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