HelenA Pritchard
The Homeless Mind

★★★☆☆

On until 13 April 2024

Pritchard’s practice, once happily confined to the surface of a ready-made canvas, has found a new scale in this exhibition. The gallery’s basement sinks under the weight of three concrete assemblies. Their twisted shapes, textures, and menacing dimensions would make a great backdrop for a reality TV programme on Brutalist architecture and earthquakes. 

Death by debris falling from building façades is an artist’s occupational hazard. A couple of collages that accompany Pritchard’s future rubble suggest that collapse was not far from the painter’s mind.

It is a matter of course that one end puts another in perspective. By unavoidable contrast, Pritchard’s smaller maquette sculptures lack either the menace or the lightness commanded by her concrete extrusions. Their number, excessive given the showroom’s subterranean lack of a skyline, leaves the exhibition unbalanced and lacking a guiding principle.


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

Iris Touliatou, Outfits at PEER ★★★☆☆

Iris Touliatou

Outfits

★★★☆☆

These gestures remind the gallery that it is a social space. Unfortunately, they also inadvertently point to its sorry end.

Eva Kot’átková, The Czech pavilion in Venice ★★☆☆☆

Eva Kot’átková

The heart of a giraffe in captivity is twelve kilos lighter

★★☆☆☆

The giraffe’s taxidermied corpse is host to an ideological stunt.

Michael Andrew Page, Claustrum at Project Native Informant ★★★★☆

Michael Andrew Page

Claustrum

★★★★☆

Page’s tent, brain, and the cathedral take the same form for a pretty good reason.

Dominique Fung, (Up)Rooted, at Massimo de Carlo ★★☆☆☆

Dominique Fung

(Up)Rooted

★★☆☆☆

All this tries to be macabre and surreal like in Bosch or Miyazaki but is instead laughably twee.

Choon Mi Kim, ACID—FREEEE at Ginny on Frederick ★☆☆☆☆

Choon Mi Kim

ACID—FREEEE

★☆☆☆☆

Some forms of abstraction simply scream ‘my kid could have made that’.

Deimantas Narkevičus, The Fifer at Maureen Paley ★★☆☆☆

Deimantas Narkevičus

The Fifer

★★☆☆☆

In the age of the decolonial, this is as quaint as it is outmoded

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