pierre d'alancaisez

Christine Ay Tjoe

Lesser Numerator

White Cube, London

★★☆☆☆

On until 13 January 2024

Aj Tjoe’s paintings could make great scenic backdrops to a David Attenborough documentary on the life of wild rodents or an episode of The Human Body. Each of the canvases, only lightly primed and rendered in a restricted palette, looks inside what could be a rat’s warren in winter or the cavity between the human heart and the lungs. 

The show hopes to run multiple seasons and the painter made nearly a dozen of these images, one only slightly different from the last. But these paintings show no story and no evolution. Such pseudo-anatomical sketches can only hope to make set dressing for the tense psychological drama that Aj Tjoe would rather have us watch.

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

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.

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.

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.

Anna Glantz, Lichens at Approach ★★★☆☆

Anna Glantz

Lichens

★★★☆☆

The clues that Glantz leaves on her surfaces are also traps. There are either too many or not quite enough to follow or fall into. 

Francesca DiMattio, Wedgwood at Pippy Houldsworth ★★★☆☆

Francesca DiMattio

Wedgwood

★★★☆☆

In DiMattio’s giant ceramics kiln, everyday motifs like sneakers and knickers clash into the ornate Rococo stove and the Victorian China snuff box.

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.

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