Jacob Dahlgren

When Anxieties Become Form

★★☆☆☆

On until 27 September 2024

“Choose one idea and stick with it no matter what” was decent advice for an artist until a couple of decades ago. Dahlgren took this to heart and spent his career rearranging stripes of colour with a dedication that would put Daniel Buren to shame. He has produced stripy prints, sculptures, videos, and photographs. He has even staged a series of colour protests filled with placards designed to his colour scheme. He probably makes his own t-shirts which, of course, are always striped.

I met Dahlgren in his studio over a decade ago and even then wondered how and if his practice might develop. It seems that it hasn’t. But should it? In this anxiously posed show, the works are older than the artist’s last good idea, and nothing strives for novelty not already synonymous with modernity. If only Dahlgren’s proposition was any more daring, disordered, or simply counterintuitive, the gallery might be spared waiting for his stripe to enter the canon.


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

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.

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.

Ithaca at Herald St ★★★★☆

Christopher Aque, Alekos Fassianos, Luigi Ghirri, Jessie Stevenson, George Tourkovasilis

Ithaca

★★★★☆

This show drips with affectation that wouldn’t survive a minute tomorrow.

Trevor Yeung, Soft Ground, at Gasworks ★★☆☆☆

Trevor Yeung

Soft Ground

★★☆☆☆

It’s stressful enough to fuck in the forest for fear of passers-by or the police; imagine having to also look out for curators.

Erick Meyenberg, Nos marchábamos, regresábamos siempre, the Mexican pavilion in Venice ★☆☆☆☆

Erick Meyenberg

Nos marchábamos, regresábamos siempre

★☆☆☆☆

Whatever the purpose of this confusion, it’s not to be found in the gallery.

The Otolith Group, I See Infinite Distance Between Any Point and Another at greengrassi ★★☆☆☆

The Otolith Group

I See Infinite Distance Between Any Point and Another

★★☆☆☆

The exhibition is a private memorial for Etel Adnan accessible only to members of the art world’s inner circle. And that’s a pity.

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