Everything about this show, beginning with its banal title—since when is shipping art from Vienna some radical emissarial act?—feels lazy. Giraux’s large wall-hung cast rubber sheets mimic abstract silver-sprayed canvases. If the technique deployed in their production is unusual, their framing—literally and figuratively—strips them down to bare-bone decorative panel. Dietrich’s found cabinets, encased in painted MDF plinths, are a weak riff on Modernity’s collapse into white-cubism. The artist’s gestures are sterile, lacking even the slightest curiosity about his material. The gallery’s affected refusal to serve as the works’ context, finally, aborts this misguided mission.
Sophie Giraux, Albert Dietrich Condo: The Ambassadors
Sophie Giraux, Albert Dietrich
Condo: The Ambassadors
★☆☆☆☆
On until 14 February 2026
notes and notices are short and curt exhibition reviews. Read more:
Marina Abramović
Marina Abramović
7 Deaths of Maria Callas
★☆☆☆☆
Abramović wants to destroy all performance and all women until she holds the monopoly over stage death.
Bogna Burska and Daniel Kotowski
Bogna Burska and Daniel Kotowski
Liquid Tongues
★★☆☆☆
Liquid Tongues is a collaboration between two artists and a community choir of deaf and hearing people. Despite drawing on many ideas, the film lands a generic, corporate look. Were Burska and Kotowski not aware of the rich history of linguistic…
Max Boyla
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.
Tacita Dean
Tacita Dean
Black, Green, Green and White
★☆☆☆☆
Film studies lost to mobile video; Dean phones it in.
Ron Nagle
Ron Nagle
Conniption
★★★★★
Less is more, as the saying goes. Nagle’s porcelain and resin maquettes are the bare minimum.
Pablo Bronstein
Pablo Bronstein
Cakehole
★★★☆☆
Bronstein falls into the late evening stupor of the cheese trolley, the oyster tray, and… the Mars bar.
