Deimantas Narkevičus
The Fifer


On until 18 February 2024

What connects mystical runes, sublime sounds, hypernatural birds, and the very middle of Europe? Wrong answers only, as the meme goes, because “nothing” is obvious. Narkevičius’ constellation of sculpture, photography, and sound installation, topped for good measure with a 3D film gimmick, pulls in too many directions. 

This luck-of-the-draw curating is unsatisfying and disruptively confusing. It forces the eye to find comfort in the Lithuanian’s already familiar and predictable 1997 video on “the post-Soviet era”. This modest work, lightly twitching the Iron Curtain, inadvertently becomes a centrepiece. In the age of the decolonial, this is as quaint as it is outmoded, and the contextual vacuum of this cutting room floor helps no one.

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

Tamara Henderson, Green in the Grooves at Camden Art Centre ★★★★☆

Tamara Henderson

Green in the Grooves


The whole thing feels like a remake of Wind in the Willows directed by a garden gnome.

RM, A Story Backwards at Auto Italia ★★☆☆☆


A Story Backwards


Having forgotten what the ‘dramatic’ in art stands for, visual artists today too often mistake hacked theory for stage directions.

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

Sin Wei Kin



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

Alexandre Canonico, Still at Ab Anbar ★★★☆☆

Alexandre Canonico



Conanico’s slight structures look like they could take flight at any moment.

Sula Bermúdez-Silverman, Bad Luck Rock at Josh Lilley ★★☆☆☆

Sula Bermúdez-Silverman

Bad Luck Rock


This is a poor man’s version of history or a philistine collector’s absolution.

Josiane M.H. Pozi, Through My Fault at Carlos/Ishikawa ★★★☆☆

Josiane M.H. Pozi

Through My Fault


There’s a group, but they’re as indistinct as the faces of Jesus that regularly appear to people on slices of toast.