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:

Calla Henkel & Max Pitegoff, I.W. Payne, Downtown at 243 Luz ★★★★☆

Calla Henkel & Max Pitegoff, I.W. Payne

Downtown

★★★★☆

This project has no room for breath and even less for context.

Kevin Brisco Jr, But I Hear There Are New Suns at Union Pacific ★★☆☆☆

Kevin Brisco Jr

But I Hear There Are New Suns

★★☆☆☆

I didn’t get to see this show. Perhaps for the best.

Vinca Petersen, Me, Us and Dogs at Edel Assanti ★★★☆☆

Vinca Petersen

Me, Us and Dogs

★★★☆☆

Close up, Petersen’s innocents today conjure ideas of redneck resistance. At scale, of state-marketed utopia. The middle ground is envy.

Dryland, the Greek pavilion in Venice ★★★★☆

Thanasis Deligiannis, Yannis Michalopoulos

Xirómero/Dryland

★★★★☆

It’s Sunday in the village. And the main square is deserted.

Matthew Barney, SECONDARY at Sadie Coles HQ ★★★☆☆

Matthew Barney

SECONDARY: light lens parallax

★★★☆☆

Secondary turns the gallery into an American Football stadium. But all the seats in the house are the cheap seats and the game lacks a cheerleader.

Gina Fischli, Love Love Love at Soft Opening ★★★★☆

Gina Fischli

Love Love Love

★★★★☆

What good it is to be best in show when the competition is lame, crooked, or outright fake?

×