Hannah Tilson
Soft Cut

★★☆☆☆

On until 21 October 2023

A woman’s self-portrait in sickly lime green and yellow acrylic spread so thinly that it looks like a felt-tip doodle. Tilson sports a cutesy beret and a checked trench coat. She turns her absent gaze out of the frame. The pattern of her coat matches the background like in Jacques Demy’s Umbrellas of Cherbourg, only less Technicolor. The next painting is the same, just with slightly different (sickly) colours. And the next one too. Tilson is in all of them. And in every one, she’s lost.

This line may perfectly ascribe Catherine Deneuve’s 2023 successor. But if The Umbrellas made the actress an instant star, Tilson’s styled self-portraits are an affectation that will take many years of practice to pay off.


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

Justin Caguiat, Dreampop at Modern Art ★★★★☆

Justin Caguiat

Dreampop

★★★★☆

This is the sort of exhibition that makes a critic question the quality of their judgment.

Mohammad Ghazali, Trilogy: Then… at Ab-Anbar ★★★★☆

Mohammad Ghazali

Trilogy: Then…

★★★★☆

Repetition and framing are photography’s greatest tricks.

When Forms Come Alive at Hayward Gallery ★★☆☆☆

When Forms Come Alive

★★☆☆☆

This exhibition cannot decide if it’s a tourist attraction or a serious examination of sculpture’s relationship with movement.

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.

Wilhelm Sasnal at Sadie Coles ★★★☆☆

Wilhelm Sasnal

★★★☆☆

Only in flights of anger does this vision come close to becoming believable.

Peter Fischli and David Weiss at Sprüth Magers ★★★★☆

Peter Fischli and David Weiss

★★★★☆

A police procedural turns into a drinking game of Foucauldian power analysis.

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