Chronoplasticity

★☆☆☆☆

Curated by Lars Bang Larsen
On until 8 December 2024

It would take a visitor unfamiliar with Raven Row’s fetish for the 1970s until the heat death of the universe to understand what this exhibition is for. It assembles dozens of supposedly anti-temporal works that barely share a time zone, let alone partisan concerns, folding them into the present as though that could do some magic. Falhström’s 50-year-old study of globalism thus sits next to a strand of ‘mental health’ works by Podolski and Daučíková. An unimpressive archive of transhumanism dug up by Knauf has little echo. Next, some solidarity banners stitched by Zapatera Negra and a climate change corner with bits of glass by Schmidt.

The exhibition guide calls all this “radical”: if time were a social construct, things might have well been different. Proving the subjunctive useless, however, the gallery’s time-capsule top-floor flat hosts an exhibition-in-exhibition called “How to Eat a Rolex”. It may have been a good joke but it’s just too exhausting to look at.

The curator seems unfatigued. The show’s time-blindness peaks in Agirregoikoa’s idiotic pencil animation which poses Swan Lake as a Nazi anthem. This is “how culture is turned into an ideology”. Good to know that’s settled.


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

Max Boyla, Crying like a fire in the sun at Workplace ★★☆☆☆

Max Boyla

Crying like a fire in the sun

★★☆☆☆

Rothko’s abstractions are said to have induced tears in viewers overwhelmed by abstraction. Staring at the sun here, however, barely causes blindness.

Tesfaye Urgessa, The Ethiopian Pavilion in Venice ★★★★★

Tesfaye Urgessa

Prejudice and Belonging

★★★★★

Urgessa’s figures are contorted in love, death, or merely life.

Medusa at Union Gallery ★★★☆☆

Ada Bond, Rebecca Davy, Karen Densha, Sam Owen Hull, Hilary Jack, Rachel Goodyear, Evita Ziemele, et al.

Medusa

★★★☆☆

Interpreting a tale this grotesque, ugly, and venomous will take thousands of years

Siobhan Liddell, Been and Gone at Hollybush Gardens ★★☆☆☆

Siobhan Liddell

Been and Gone

★★☆☆☆

A twee aesthetics native to a grandmother’s mantlepiece collection of tourist souvenirs and devotional figurines.

Sin Wei Kin, Portraits at Soft Opening ★★☆☆☆

Sin Wei Kin

Portraits

★★☆☆☆

This exhibition combines the most vulgar of all art school tropes: juvenile narcissism, NFT kitsch, and mindless referentialism.

Stuart Middleton, The Human Model at Carlos/Ishikawa ★★☆☆☆

Stuart Middleton

The Human Model

★★☆☆☆

An interest in material is core to this practice but Middleton mistrusts his instincts.

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