Carole Ebtinger, Esther Gatón
phosphorescence of my local lore


On until 13 January 2024

Autumn, eh? Ettinger’s pastel drawings look like Monet’s water lilies but caught late in the year after the garden died down and the artist’s vision faded. Gatón’s hanging of sticks and frayed plastics, once a proud scarecrow, has seen better days. Rot overpowered this subject and came for the object next. 

This could have been a scene from an ‘eco’ remake of The Blair Witch Project or an homage to Metzger. Instead, this slight show barely justifies its five-word title. A star docked for splitting the gallery in half to concurrently host an atrocious solo exhibition instead of working this local lore into a serious proposition.

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

Talar Aghabshian, Solace of the Afterimage at Marfa’ at The Approach ★★☆☆☆

Talar Aghbashian

Solace of the Afterimage


The carpet dealer gallerist’s zeal reveals the work’s lamentable inadequacy. 

Pauline Boty at Gazelli Art House ★★★★☆

Pauline Boty

A Portrait


This exhibition mixes the woman and her legend, but without the air of mystery she enjoyed during her lifetime.

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.

Ksenia Pedan, Revision at Cell Project Space ★★★★☆

Ksenia Pedan



Pedan’s paintings would rather be anything but.

Abel Auer, The shadow of tomorrow draws an ancient silhouette at Corvi-Mora ★★★☆☆

Abel Auer

The shadow of tomorrow draws an ancient silhouette


Auer is more interested in the fate of painting than humanity and thus stands apart from the army of zealots who make eco art today.

Josiane M.H. Pozi, Through My Fault at Carlos/Ishikawa ★★★☆☆

Josiane M.H. Pozi

Through My Fault


There’s a group, but they’re as indistinct as the faces of Jesus that regularly appear to people on slices of toast.