Gray Wielebinski

The Red Sun is High, the Blue Low

★☆☆☆☆

On until 23 December 2023

On my first visit to this exhibition, I thought I’d misunderstood the ICA’s new opening times and missed half of the show. Returning, I found nothing more: a largely vacant space with some seats set in a circle, a photo wallpaper with multiple sunsets, and an electronic scoreboard like at a basketball court. In another room loosely styled as a military bunker and only dimly lit, I played with an unresponsive touchscreen to unknowingly change the score outside. Underwhelmed and unaffected, I moved to the gallery bar.

Reading the exhibition’s pamphlet in search of something to chew on, I found it full of vague observations and dubious claims. The title came from some Cold War science fiction. Time’s arrow is broken. There’s a world outside. We’re living in the end times. Some things mean other things.

This illuminated nothing. 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.


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

looking to the futurepast, we are treading forward, the Bolivian pavilion in Venice ★☆☆☆☆

looking to the futurepast, we are treading forward

★☆☆☆☆

The contemporary is of no interest to a nation whose future is yet to be dug out from the ground.

Pamela Phatsimo Sunstrum, It Will End In Tears at Barbican Curve ★★☆☆☆

Pamela Phatsimo Sunstrum

It Will End In Tears

★★☆☆☆

With the right lighting, this story could be a mid-century colonial classic.

Jordan Derrien, Painted on a Wall of the Inn at Marlotte at Des Bains ★★☆☆☆

Jordan Derrien

Painted on a Wall of the Inn at Marlotte

★★☆☆☆

Derrien has his audience discussing the nature of paint drying out loud.

Josèfa Ntjam’s, swell of spæc(i)es, Venice ★★☆☆☆

Josèfa Ntjam

swell of spæc(i)es

★★☆☆☆

Ntjam’s Biennale presentation has all the hallmarks of world-building ambition. For one, it boasts two separate locations, one dedicated solely to the work’s public programme. The main feature is housed in a giant purpose-made structure which occupies a third of…

Hannah Tilson, Soft Cut at Cedric Bardawil ★★☆☆☆

Hannah Tilson

Soft Cut

★★☆☆☆

Tilson’s styled self-portraits are an affectation that will take many years of practice to pay off.

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.

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