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.
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Condo: The Ambassadors
★☆☆☆☆
On until 14 February 2026
notes and notices are short and curt exhibition reviews. Read more:
New Contemporaries
★☆☆☆☆
This edition spells ‘stasis’ more than most, and the selectors are to blame.
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Ubiquity II
★★☆☆☆
There are many ways to misunderstand entropy.
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>anticorpo<
★★★★☆
Such ‘80s nostalgia for meaning before history’s end is a comfort blanket.
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Medusa
★★★☆☆
Interpreting a tale this grotesque, ugly, and venomous will take thousands of years
RE/SISTERS
★★☆☆☆
Too many deadpan landscape photographs turn intrigue into fatigue and into paralysis.
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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.
